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 Ghana and from Lyon.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1964 to 1976.
I'm losing my edge.
To all the kids in Shanghai and Sao Paulo.
I'm losing my edge to the art-school London 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 linndrum 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 Steve Hackett to the techno 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 Amon Düül II. All the underground hits.
All Letta Mbulu tracks. I heard you have a vinyl of every Procol Harum record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying an organ and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Drexciya record.
I hear that you and your band have sold your harpsichord and bought a snare.
I hear that you and your band have sold your snare and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fluxion,
Sly & The Family Stone,
Spandau Ballet,
Theoretical Girls,
Dawn Penn,
The Gun Club,
Stetsasonic,
Joe Smooth,
Dorothy Ashby,
The Flesh Eaters,
The Durutti Column,
Gil Scott Heron,
Peter and Kerry,
Ice-T,
Sugar Minott,
Massinfluence,
Dr. Dre and Snoop Doggy Dog,
the Fania All-Stars,
Angels of Light & Akron/Family,
Marine Girls,
Susan Cadogan,
10cc,
Con Funk Shun,
Amon Düül II,
Subhumans,
Siglo XX,
FM Einheit,
H. Thieme,
Warren Ellis,
Dead Boys,
Kango’s Stein Massive,
Bobby Womack,
Nik Kershaw,
Pere Ubu,
Pulsallama,
Gil Scott-Heron and Jamie xx,
Magazine,
The Cure,
The Grass Roots,
AZ,
Gil Scott-Heron & Brian Jackson,
Soul II Soul,
Cluster,
The Doors,
Qualms,
Cecil Taylor,
Patti Smith,
Flipper,
Camberwell Now,
Pet Shop Boys,
Chris Corsano,
Harpers Bizarre,
Donny Hathaway,
Vainqueur,
Röyhkä ja Rättö ja Lehtisalo,
Dual Sessions,
Lakeside,
Yaz,
DeepChord presents Echospace,
Robert Wyatt,
Charles Mingus,
Los Fastidios, Los Fastidios, Los Fastidios, Los Fastidios.
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.