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 Niger and from Houston.
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 1961 to 1973.
I'm losing my edge.
To all the kids in Toronto and Mumbai.
I'm losing my edge to the art-school Accra 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 1984 at the first Arcadia practice in a loft in London.
I was working on the sitar sounds with much patience.
I was there when Michael McDonald 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 Patti Smith to the punk kids.
I played it at the Hacienda.
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 A Certain Ratio. All the underground hits.
All The Stooges tracks. I heard you have a vinyl of every Scratch Acid record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a linndrum and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Absolute Body Control record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Count Five,
Oppenheimer Analysis,
Metal Thangz,
The Gories,
Q and Not U,
Captain Beefheart & His Magic Band,
Radio Birdman,
Electric Light Orchestra,
Gerry Rafferty,
The Chocolate Watch Band,
These Immortal Souls,
Lalo Schifrin,
The Sound,
Pussy Galore,
The Names,
Flipper,
The Cramps,
Kauko Röyhkä ja Narttu,
The Sonics,
Bootsy Collins,
Graham Central Station,
Frankie Knuckles,
Arcadia,
Sex Pistols,
MC5,
The Divine Comedy,
Eyeless In Gaza,
Kool G Rap & DJ Polo,
Gil Scott Heron,
Derrick Morgan,
Notorious Big And Bone Thugs,
Infiniti,
Porter Ricks,
Thee Headcoats,
Amon Düül II,
Pharoah Sanders,
48th St. Collective,
The Mojo Men,
Sexual Harrassment,
The Men They Couldn't Hang,
The Birthday Party,
Major Organ And The Adding Machine,
Audionom,
Wally Richardson,
Joensuu 1685,
Lucky Dragons,
DNA,
Public Enemy,
John Foxx,
David Axelrod,
The Leaves,
Roxy Music,
Bobby Byrd,
World's Most,
Don Cherry,
The Star Department,
Adolescents,
The Offenders,
Pole,
Arthur Verocai,
H. Thieme,
The Fall,
Rosa Yemen, Rosa Yemen, Rosa Yemen, Rosa Yemen.
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.