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 Chad and from Lille.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Hong Kong and Copenhagen.
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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the 808 sounds with much patience.
I was there when Nile Rodgers 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 Au Pairs to the jazz kids.
I played it at the Astoria.
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 Peter Gordon & Love of Life Orchestra. All the underground hits.
All Quando Quango tracks. I heard you have a vinyl of every Todd Terry 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 '80s cut and another box set from the '90s.
I hear you're buying a sitar and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Amon Düül II record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
June Days,
Rapeman,
Lou Reed & John Cale,
Roy Ayers Ubiquity,
Michelle Simonal,
Henry Cow,
Sun City Girls,
Mission of Burma,
Juan Atkins,
The Neon Judgement,
Sun Ra Arkestra,
James White and The Blacks,
Tim Buckley,
Kauko Röyhkä ja Narttu,
Rites of Spring,
Youth Brigade,
Hasil Adkins,
Banda Bassotti,
Roy Ayers,
This Heat,
Bobby Sherman,
Notorious BIG live in Amsterdam,
The Techniques,
Beasts of Bourbon,
Ralphi Rosario,
Warsaw,
Ossler,
Teenage Jesus and the Jerks,
Max Romeo,
Danielle Patucci,
Monolake,
Lightning Bolt,
Shuggie Otis,
The Misunderstood,
B.T. Express,
Eddi Front,
Spandau Ballet,
The Shadows of Knight,
The Litter,
Black Bananas,
Jerry Gold Smith,
Kool G Rap & DJ Polo,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Howard Jones,
The Sisters of Mercy,
Robert Hood,
Sonic Youth,
Funky Four + One,
Infiniti,
The Electric Prunes,
Amon Düül,
Robert Wyatt,
The Remains,
Bush Tetras,
Unrelated Segments,
Derrick May,
The Moody Blues,
Harry Pussy,
Andrew Hill, Andrew Hill, Andrew Hill, Andrew Hill.
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.