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 Cambodia and from Paris.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Spokane and Columbus.
I'm losing my edge to the art-school Lille 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 at the first Suicide practice in a loft in New York.
I was working on the güiro sounds with much patience.
I was there when Captain Beefheart 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 Matthew Bourne to the funk 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 Can. All the underground hits.
All F. McDonald tracks. I heard you have a vinyl of every Jacob Miller 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 '70s cut and another box set from the '70s.
I hear you're buying a synthesizer and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Qualms record.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Neon Judgement,
Ultravox,
ABC,
Rufus Thomas,
Simply Red,
Inner City,
The Gun Club,
Oneida,
Quando Quango,
Rhythm & Sound,
Harry Pussy,
Darondo,
Hashim,
Joyce Sims,
Idris Muhammad,
Soul II Soul,
Man Parrish,
Essential Logic,
Tom Boy,
The Last Poets,
Rod Modell,
Bill Wells,
The Litter,
Liaisons Dangereuses,
Massinfluence,
London Community Gospel Choir,
Bobby Byrd,
Kerri Chandler,
Zero Boys,
Ohio Players,
The Gladiators,
The Monochrome Set,
Icehouse,
Justin Hinds & The Dominoes,
Agitation Free,
Arab on Radar,
Pulsallama,
Joey Negro,
Minor Threat,
Guru Guru,
Avey Tare's Slasher Flicks,
Roxette,
Harpers Bizarre,
Barbara Tucker,
Ornette Coleman,
Steve Hackett,
Todd Rundgren,
Sugar Minott,
Sonic Youth,
Erasure,
Howard Jones,
Pantaleimon,
Bobby Sherman,
Soft Cell,
Black Moon,
Drive Like Jehu,
Jacob Miller,
Bronski Beat,
The Alarm Clocks,
Main Source,
Alphaville, Alphaville, Alphaville, Alphaville.
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.