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 Mongolia and from Seoul.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Copenhagen and Accra.
I'm losing my edge to the art-school Hong Kong 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the rhodes sounds with much patience.
I was there when Michael McDonald 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 Steve Hackett to the crunk kids.
I played it at the Troubador.
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 Flipper. All the underground hits.
All Desert Stars tracks. I heard you have a vinyl of every Warsaw 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 '60s cut and another box set from the '90s.
I hear you're buying a theremin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Pole record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jesper Dahlback,
Moss Icon,
Bronski Beat,
Notorious BIG live in Amsterdam,
Alton Ellis,
The Last Poets,
Lalann,
Andrew Hill,
The Blackbyrds,
Fifty Foot Hose,
The Stooges,
Blancmange,
Gang Green,
Unrelated Segments,
Absolute Body Control,
Slick Rick,
Babytalk,
In Retrospect,
Dennis Brown,
Delon & Dalcan,
David McCallum,
The Music Machine,
Joyce Sims,
The Toasters,
Glenn Branca,
Icehouse,
Young Marble Giants,
The Young Rascals,
Bootsy's Rubber Band,
Rahsaan Roland Kirk,
Teenage Jesus and the Jerks,
The Searchers,
The Fall,
The Skatalites,
Rites of Spring,
Intrusion,
Thinking Fellers Union Local 282,
Tres Demented,
Ronan,
Bang on a Can All-Stars,
Flipper,
Public Enemy,
Jacob Miller,
Johnny Clarke,
the Fania All-Stars,
The Gladiators,
The Count Five,
The Index,
Bobby Womack,
Mission of Burma,
The Wake,
June Days,
Tubeway Army,
Albert Ayler,
Inner City,
Moby Grape,
Erykah Badu,
Procol Harum,
Subhumans,
Leonard Cohen,
Röyhkä ja Rättö ja Lehtisalo,
X-102,
Eli Mardock,
Underground Resistance, Underground Resistance, Underground Resistance, Underground Resistance.
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.