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 Nicaragua and from Lyon.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Salvador and Lille.
I'm losing my edge to the art-school Manchester 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 1970 at the first Onyeabor practice in a loft in Enugu.
I was working on the güiro sounds with much patience.
I was there when Donald Fagen 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 Qualms to the dance kids.
I played it at the Spitz.
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 Sun Ra. All the underground hits.
All F. McDonald tracks. I heard you have a vinyl of every One Last Wish record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a spring reverb and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Con Funk Shun 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?
Jeru the Damaja,
Rhythm & Sound,
Unrelated Segments,
John Lydon,
Toni Rubio,
Zapp,
Porter Ricks,
The Trojans,
Patti Smith,
The Selecter,
Soulsonic Force,
Soft Cell,
The Last Poets,
Parry Music,
Whodini,
Amon Düül II,
Scott Walker + Sunn O))),
The Monochrome Set,
Peter and Kerry,
Röyhkä ja Rättö ja Lehtisalo,
Clear Light,
The Five Americans,
Hashim,
Barbara Tucker,
Gary Puckett & The Union Gap,
Gian Franco Pienzio,
The Walker Brothers,
Skriet,
Skarface,
Roxette,
The Blues Magoos,
Freddie Wadling,
James White and The Blacks,
Camron Feat. Memphis Bleek And Beenie Seigel,
Pulsallama,
Yazoo,
Lakeside,
Eric B and Rakim,
Be Bop Deluxe,
Rapeman,
Faraquet,
The Flesh Eaters,
Mantronix,
The Invisible,
Boredoms,
Interpol,
New York Dolls,
Television Personalities,
A Flock of Seagulls,
Camberwell Now,
KRS-One,
Lonnie Liston Smith,
The Dave Clark Five,
Oppenheimer Analysis,
Tres Demented,
Quadrant,
CMW,
Bobby Womack,
Roy Ayers Ubiquity,
Super Lover Cee & Casanova Rud,
Howard Jones, Howard Jones, Howard Jones, Howard Jones.
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.