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 United States and from London.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1962 to 1970.
I'm losing my edge.
To all the kids in Milan and Accra.
I'm losing my edge to the art-school Lyon 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the harpsichord sounds with much patience.
I was there when Nile Rodgers 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 Tomorrow to the jazz kids.
I played it at the 40 Watt.
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 Public Enemy. All the underground hits.
All Deakin tracks. I heard you have a vinyl of every Spandau Ballet record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a spring reverb and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a James White and The Blacks record.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Terry Callier,
The Sound,
Nas,
Clear Light,
Mission of Burma,
Scratch Acid,
Donny Hathaway,
Jimmy McGriff,
Eric Dolphy,
The Seeds,
Little Man,
Isaac Hayes,
Masters at Work,
Sister Nancy,
Malaria!,
Can,
The Chocolate Watch Band,
Mr. Review,
Harry Pussy,
KRS-One,
Bobby Womack,
Brass Construction,
The Monochrome Set,
Tres Demented,
Goldenarms,
Groovy Waters,
Fad Gadget,
The Divine Comedy,
Jesper Dahlback,
LL Cool J,
Röyhkä ja Rättö ja Lehtisalo,
The Motions,
Bob Dylan,
The Royal Family And The Poor,
Faraquet,
Delon & Dalcan,
Avey Tare,
The Dirtbombs,
The Move,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Darondo,
Tears for Fears,
Robert Görl,
The Shadows of Knight,
Sunsets and Hearts,
The Leaves,
Laurel Aitken,
Josef K,
Soulsonic Force,
Bobby Sherman,
Jeff Mills,
Oneida,
The Moleskins,
Larry & the Blue Notes,
Aswad,
Marine Girls,
Faust,
Joe Smooth,
Flamin' Groovies,
Pantytec,
Livin' Joy,
Bill Near, Bill Near, Bill Near, Bill Near.
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.