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 Suriname and from Winnipeg.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Columbus and Paris.
I'm losing my edge to the art-school Jakarta 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 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 Infiniti to the punk 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 This Heat. All the underground hits.
All Smog tracks. I heard you have a vinyl of every Television Personalities record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a chamberlin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Smoke record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hot Snakes,
The Cramps,
The Grass Roots,
The Peanut Butter Conspiracy,
Amazonics,
The Men They Couldn't Hang,
Arthur Verocai,
ABBA,
Bootsy Collins,
Hashim,
Glambeats Corp.,
Brothers Johnson,
Kurtis Blow,
Thompson Twins,
Khruangbin,
Los Fastidios,
The Zeros,
Oneida,
Massinfluence,
Crispian St. Peters,
Ralphi Rosario,
R.M.O.,
Morten Harket,
Y Pants,
Judy Mowatt,
Bobby Byrd,
the Normal,
Tears for Fears,
Suburban Knight,
June of 44,
Major Organ And The Adding Machine,
Groovy Waters,
The Shadows of Knight,
Jerry Gold Smith,
Eyeless In Gaza,
Jeru the Damaja,
Godley & Creme,
Ken Boothe,
Pete Rock & C.L. Smooth,
Desert Stars,
Toni Rubio,
The Invisible,
Camron Feat. Memphis Bleek And Beenie Seigel,
Can,
Zero Boys,
The Durutti Column,
Joe Finger,
LL Cool J,
The Gladiators,
Parry Music,
Davy DMX,
The Standells,
D'Angelo,
The Music Machine,
Andrew Ashong & Theo Parrish,
Theoretical Girls,
Minny Pops,
48th St. Collective,
Mandrill,
Banda Bassotti,
10cc,
Joensuu 1685,
The Cowsills,
Bad Manners, Bad Manners, Bad Manners, Bad Manners.
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.