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 Congo and from Columbus.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1977.
I'm losing my edge.
To all the kids in Beijing and Winnipeg.
I'm losing my edge to the art-school Mumbai 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 marimba 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 The New Christs to the funk 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 Bootsy's Rubber Band. All the underground hits.
All The Gun Club tracks. I heard you have a vinyl of every Kenny Larkin record on German import.
I heard that you have a white label of every seminal dance 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 linndrum and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Wasted Youth 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?
Au Pairs,
Jawbox,
Wally Richardson,
The Durutti Column,
Ornette Coleman,
The Martian,
The Dirtbombs,
Glenn Branca,
Aaron Thompson,
Tom Boy,
Kauko Röyhkä ja Narttu,
The Dead C,
Arab on Radar,
Godley & Creme,
Ken Boothe,
La Düsseldorf,
The Five Americans,
A Flock of Seagulls,
Slave,
Deutsch Amerikanische Freundschaft,
The Monks,
Swell Maps,
LL Cool J,
The Leaves,
Sandy B,
Depeche Mode,
Ronnie Foster,
Moby Grape,
London Community Gospel Choir,
Delon & Dalcan,
Jandek,
Warsaw,
the Association,
the Fania All-Stars,
Von Mondo,
Tomorrow,
Lou Reed & John Cale,
Amazonics,
Agitation Free,
Crash Course in Science,
Public Enemy,
The Misunderstood,
Bad Manners,
The West Coast Pop Art Experimental Band,
Monolake,
Can,
Rowland S Howard / Lydia Lunch,
the Bar-Kays,
Vainqueur,
John Lydon,
The Gap Band,
Youth Brigade,
The Royal Family And The Poor,
CMW,
Bauhaus,
Scott Walker,
Susan Cadogan,
B.T. Express,
Neu!,
Bootsy's Rubber Band,
The Fortunes,
Grauzone,
Roy Ayers, Roy Ayers, Roy Ayers, Roy Ayers.
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.