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 Libya and from Lyon.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1965 to 1979.
I'm losing my edge.
To all the kids in Toronto and Cairo.
I'm losing my edge to the art-school Philadelphia 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 snare 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 Kool Moe Dee to the rap 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 Selector Dub Narcotic. All the underground hits.
All Amon Düül tracks. I heard you have a vinyl of every Louis and Bebe Barron record on German import.
I heard that you have a white label of every seminal grime 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 an oboe and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Stetsasonic record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Trojans,
Steve Hackett,
Visage,
Lalann,
Young Marble Giants,
Alphaville,
Ultra Naté,
Gerry Rafferty,
Slick Rick,
Make Up,
Graham Central Station,
Red Lorry Yellow Lorry,
Chris & Cosey,
Gary Puckett & The Union Gap,
Cabaret Voltaire,
Eric B and Rakim,
Mars,
Joey Negro,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Louis and Bebe Barron,
The West Coast Pop Art Experimental Band,
Flamin' Groovies,
Guru Guru,
Sound Behaviour,
Main Source,
Bobby Hutcherson,
Dorothy Ashby,
Matthew Halsall,
Oblivians,
Youth Brigade,
Cal Tjader,
The Gun Club,
Marc Almond,
Pantaleimon,
The Velvet Underground,
Pharaoh Sanders and the Fire Engines,
Angels of Light & Akron/Family,
Glambeats Corp.,
Ultramagnetic MC's,
Andrew Ashong & Theo Parrish,
Lonnie Liston Smith,
Robert Görl,
The Music Machine,
Reagan Youth,
Pierre Henry,
Lungfish,
Roxy Music,
Anakelly,
The Zeros,
Mark Hollis,
Bill Wells,
Harry Pussy,
It's A Beautiful Day,
Bootsy Collins,
Arcadia,
The Martian,
Scientists,
June Days,
The Young Rascals,
B.T. Express,
Supertramp,
Man Parrish,
The Barracudas, The Barracudas, The Barracudas, The Barracudas.
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.