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 Fiji and from Lyon.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 Hong Kong and Philadelphia.
I'm losing my edge to the art-school Taipei 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 sitar 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 Depeche Mode to the electroclash kids.
I played it at Cafe Wha.
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 Little Man. All the underground hits.
All Blossom Toes tracks. I heard you have a vinyl of every Steve Hackett 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 '60s cut and another box set from the '70s.
I hear you're buying a guitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Rhythm & Sound record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Cowsills,
Dead Boys,
Lower 48,
Jeff Mills,
Skarface,
Nas,
Model 500,
Dr. Dre and Snoop Doggy Dog,
The Pretty Things,
Heaven 17,
Harmonia,
Eve St. Jones,
Davy DMX,
It's A Beautiful Day,
Kerrie Biddell,
Ituana,
Zapp,
Sex Pistols,
Bill Near,
Kings Of Tomorrow,
Ultra Naté,
La Düsseldorf,
Deakin,
Pet Shop Boys,
Sällskapet,
Soft Machine,
Siglo XX,
Marvin Gaye,
The Motions,
The Smiths,
Yaz,
Soul II Soul,
Visionaries,LMNO, T- Love & Iriscience,
Barry Ungar,
These Immortal Souls,
Major Organ And The Adding Machine,
Electric Prunes,
Roy Ayers Ubiquity,
The Moody Blues,
Terry Callier,
Symarip,
The Jesus and Mary Chain,
Jawbox,
Kauko Röyhkä ja Narttu,
The Saints,
Chris & Cosey,
Dorothy Ashby,
Newcleus,
Albert Ayler,
Piero Umiliani,
Sly & The Family Stone,
Delta 5,
EPMD,
Peter and Kerry,
The Peanut Butter Conspiracy,
The Evens,
Rotary Connection,
Liliput,
Underground Resistance,
Mandrill,
Suburban Knight, Suburban Knight, Suburban Knight, Suburban Knight.
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.