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 Suriname and from Delhi.
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 1970.
I'm losing my edge.
To all the kids in Shanghai and Manchester.
I'm losing my edge to the art-school Sao Paulo 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 1971 at the first Selda practice in a loft in Istanbul.
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 Grandmaster Flash and the Furious Five to the punk kids.
I played it at the Spitz.
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 48th St. Collective. All the underground hits.
All Rapeman tracks. I heard you have a vinyl of every Maurizio record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a clarinet and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Ken Boothe record.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Holt,
Wasted Youth,
Fort Wilson Riot,
The Slits,
The Electric Prunes,
The Cosmic Jokers,
The Gap Band,
Ronan,
Half Japanese,
In Retrospect,
Oblivians,
Kevin Saunderson,
Kerrie Biddell,
Skarface,
Hardrive,
The Divine Comedy,
Glenn Branca,
Grandmaster Flash,
Pylon,
R.M.O.,
The Names,
Gang Green,
Letta Mbulu,
Cymande,
The Litter,
Lyres,
A Flock of Seagulls,
One Last Wish,
Unwound,
Steve Hackett,
Visage,
Bootsy's Rubber Band,
Oppenheimer Analysis,
the Swans,
Soul II Soul,
Sad Lovers and Giants,
Susan Cadogan,
The Zeros,
John Lydon,
A Certain Ratio,
Howard Jones,
Andrew Ashong & Theo Parrish,
Lungfish,
Gregory Isaacs,
Sun City Girls,
Hasil Adkins,
Kaleidoscope,
Siglo XX,
Lalo Schifrin,
Nick Cave & The Bad Seeds,
DJ Sneak,
The Saints,
Jesper Dahlback,
Lakeside,
Simply Red,
LL Cool J,
Technova,
The Neon Judgement,
Funkadelic,
David Axelrod, David Axelrod, David Axelrod, David Axelrod.
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.