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 Finland and from Johannesburg.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Bremen and Tokyo.
I'm losing my edge to the art-school Cairo 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 1973 at the first Television practice in a loft in New York.
I was working on the chamberlin 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 Brand Nubian to the jazz kids.
I played it at the Crocodile.
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 The Jesus and Mary Chain. All the underground hits.
All Fatback Band tracks. I heard you have a vinyl of every Rhythm & Sound record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying an oboe and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a It's A Beautiful Day record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bill Wells,
Maurizio,
Black Flag,
Hoover,
Mr. Review,
Unrelated Segments,
Brothers Johnson,
Deadbeat,
the Sonics,
The J.B.'s,
The Dave Clark Five,
Second Layer,
Rites of Spring,
Deepchord,
The Peanut Butter Conspiracy,
the Swans,
The Gap Band,
Main Source,
The Sonics,
B.T. Express,
Simply Red,
Eric B and Rakim,
Tears for Fears,
the Human League,
Gil Scott-Heron and Jamie xx,
Brass Construction,
Outsiders,
Dorothy Ashby,
Archie Shepp,
Curtis Mayfield,
Mars,
The Moleskins,
Deakin,
Iggy Pop,
Al Stewart,
China Crisis,
Gerry Rafferty,
Heavy D & The Boyz,
R.M.O.,
The Smoke,
Idris Muhammad,
This Heat,
John Foxx,
Alice Coltrane,
The Pretty Things,
Ice-T,
Guru Guru,
Roxette,
Terror Squad Feat. Camron,
Adolescents,
The Names,
The Slackers,
The Tremeloes,
The Golliwogs,
Lizzy Mercier Descloux,
Tomorrow,
10cc,
T. Rex,
The Toasters,
Don Cherry,
Kerrie Biddell, Kerrie Biddell, Kerrie Biddell, Kerrie Biddell.
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.