Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Georgia and from Jakarta.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1969 to 1970.
I'm losing my edge.
To all the kids in Manchester and Manchester.
I'm losing my edge to the art-school Copenhagen kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1976 at the first Chic practice in a loft in New York.
I was working on the oboe sounds with much patience.
I was there when Robert Palmer started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Black Moon to the rock kids.
I played it at the Troubador.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Charles Mingus. All the underground hits.
All Lafayette Afro Rock Band tracks. I heard you have a vinyl of every Los Fastidios record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a spring reverb and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Alton Ellis record.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Schoolly D,
Yusef Lateef,
Brand Nubian,
The Sound,
Joy Division,
Lalo Schifrin,
Tom Boy,
The Moleskins,
Pere Ubu,
John Cale,
The Misunderstood,
Blake Baxter,
Black Flag,
Lower 48,
Grandmaster Flash,
Gichy Dan,
The Cure,
The Evens,
The Standells,
Basic Channel,
Stereo Dub,
The Star Department,
Marcia Griffiths,
The Electric Prunes,
Roger Hodgson,
Barry Ungar,
The Velvet Underground,
Bronski Beat,
The Dirtbombs,
Fad Gadget,
Deadbeat,
Guru Guru,
Siglo XX,
The Knickerbockers,
A Certain Ratio,
The Dead C,
The Doors,
Juan Atkins,
The Red Krayola,
Moebius,
Radio Birdman,
D'Angelo,
The Last Poets,
The Divine Comedy,
Gastr Del Sol,
Cecil Taylor,
The Smiths,
Moby Grape,
Marine Girls,
Tres Demented,
Terrestrial Tones,
The Slits,
Visage,
Skarface,
Darondo,
Supertramp,
Q65,
Scientists,
Maleditus Sound,
Shoche,
PIL,
Sonny Sharrock,
Masters at Work,
Brass Construction,
Nas, Nas, Nas, Nas.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.