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 Solomon Islands and from Beijing.
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 1963 to 1974.
I'm losing my edge.
To all the kids in Madrid and Seoul.
I'm losing my edge to the art-school Stockholm 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 Soft Boys practice in a loft in Cambridge.
I was working on the rhodes sounds with much patience.
I was there when Donald Fagen 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 The Walker Brothers to the dance 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 Letta Mbulu. All the underground hits.
All The Music Machine tracks. I heard you have a vinyl of every The Doors 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 '80s cut and another box set from the '80s.
I hear you're buying a güiro and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Gang Starr record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
James Chance & The Contortions,
The Mummies,
The Cure,
Gil Scott-Heron & Brian Jackson,
L. Decosne,
the Association,
Bobbi Humphrey,
Altered Images,
The Wake,
Sticky Fingaz feat. Raekwon,
Aaron Thompson,
Lou Reed,
Big Daddy Kane,
Röyhkä ja Rättö ja Lehtisalo,
Bluetip,
Swans,
The Residents,
Lungfish,
Pagans,
Eve St. Jones,
Flash Fearless,
Mary Jane Girls,
Al Stewart,
Crash Course in Science,
Alice Coltrane,
Theoretical Girls,
Wasted Youth,
The Men They Couldn't Hang,
Stetsasonic,
Joy Division,
New York Dolls,
Peter and Kerry,
Fifty Foot Hose,
Girls At Our Best!,
Vladislav Delay,
Dorothy Ashby,
Thee Headcoats,
Make Up,
Vainqueur,
Bobby Hutcherson,
Funkadelic,
Gil Scott Heron,
Harmonia,
Lafayette Afro Rock Band,
Aloha Tigers,
Sugar Minott,
Marine Girls,
Cybotron,
Gong,
Maurizio,
The Monochrome Set,
Kings Of Tomorrow,
Bootsy's Rubber Band,
The Count Five,
Jeff Lynne,
Soulsonic Force,
Severed Heads,
Visionaries,LMNO, T- Love & Iriscience,
the Sonics,
Gastr Del Sol,
Throbbing Gristle,
The Five Americans, The Five Americans, The Five Americans, The Five Americans.
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.