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 South Sudan and from London.
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 1961 to 1971.
I'm losing my edge.
To all the kids in Cairo and Johannesburg.
I'm losing my edge to the art-school Bologna 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 clarinet sounds with much patience.
I was there when Tom Verlaine 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 Maurizio 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 Von Mondo. All the underground hits.
All New Order tracks. I heard you have a vinyl of every Ken Boothe 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 chamberlin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Sticky Fingaz feat. Raekwon record.
I hear that you and your band have sold your spring reverb and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Masters at Work,
Rufus Thomas,
Boz Scaggs,
Slick Rick,
Neu!,
FM Einheit,
These Immortal Souls,
The Associates,
Radiopuhelimet,
The Martian,
The Offenders,
Glambeats Corp.,
Mandrill,
Minny Pops,
the Fania All-Stars,
Reuben Wilson,
Spandau Ballet,
Motorama,
The United States of America,
Avey Tare & Kría Brekkan,
Heaven 17,
Infiniti,
A Certain Ratio,
The Buckinghams,
The Misunderstood,
Ituana,
Grey Daturas,
The Techniques,
The Walker Brothers,
B.T. Express,
Aural Exciters,
Pulsallama,
Zero Boys,
LL Cool J,
Henry Cow,
Camberwell Now,
Little Man,
Grauzone,
Funkadelic,
Tears for Fears,
Roy Ayers Ubiquity,
Warren Ellis,
Mission of Burma,
The Cowsills,
Robert Wyatt,
Adolescents,
The Sound,
Delta 5,
Talk Talk,
Big Daddy Kane,
James Chance & The Contortions,
Marshall Jefferson,
Gerry Rafferty,
Pierre Henry,
Bobbi Humphrey,
The Smoke,
Sight & Sound,
Laurel Aitken,
Loose Ends, Loose Ends, Loose Ends, Loose Ends.
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.