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 Georgia and from Accra.
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 1961 to 1973.
I'm losing my edge.
To all the kids in Shanghai and Johannesburg.
I'm losing my edge to the art-school Mexico City 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 1976 at the first Chic practice in a loft in New York.
I was working on the rhodes sounds with much patience.
I was there when Lou Reed 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 The Golliwogs to the dance kids.
I played it at the Hacienda.
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 Notorious Big And Bone Thugs. All the underground hits.
All The Stooges tracks. I heard you have a vinyl of every Mr. Review 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 '80s.
I hear you're buying a marimba and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Arcadia record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pere Ubu,
John Lydon,
Qualms,
Traffic Nightmare,
the Sonics,
The Peanut Butter Conspiracy,
Massinfluence,
Fear,
The Saints,
Wighnomy Brothers & Robag Wruhme,
Saccharine Trust,
Metal Thangz,
DJ Style,
The Offenders,
Guru Guru,
Red Lorry Yellow Lorry,
Easy Going,
Letta Mbulu,
Morten Harket,
Au Pairs,
Altered Images,
The Flesh Eaters,
Warsaw,
The Misunderstood,
Faraquet,
Stetsasonic,
Peter & Gordon,
Cymande,
Black Bananas,
Cecil Taylor,
Dual Sessions,
Dead Boys,
48th St. Collective,
Electric Prunes,
Yusef Lateef,
DeepChord presents Echospace,
Toni Rubio,
Second Layer,
Jesper Dahlback,
Swell Maps,
Intrusion,
The Shadows of Knight,
Aswad,
David Axelrod,
Be Bop Deluxe,
Justin Hinds & The Dominoes,
Carl Craig,
The Fuzztones,
The Sound,
Mo-Dettes,
The Standells,
Archie Shepp,
The Star Department,
London Community Gospel Choir,
the Swans,
Eyeless In Gaza,
The Gladiators,
Can,
Yellowson,
Rotary Connection,
The Smoke,
The Skatalites,
The Dirtbombs, The Dirtbombs, The Dirtbombs, The Dirtbombs.
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.