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 Algeria and from Johannesburg.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1965 to 1978.
I'm losing my edge.
To all the kids in Jakarta and Columbus.
I'm losing my edge to the art-school Columbus 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 oboe sounds with much patience.
I was there when Holger Czukay 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 Panda Bear to the jazz kids.
I played it at the Roxy.
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 Nation of Ulysses. All the underground hits.
All Laurel Aitken tracks. I heard you have a vinyl of every Aural Exciters 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 '70s cut and another box set from the '80s.
I hear you're buying a marimba and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Clear Light record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
E-Dancer,
The Happenings,
48th St. Collective,
The West Coast Pop Art Experimental Band,
Negative Approach,
Jeru the Damaja,
Major Organ And The Adding Machine,
Peter & Gordon,
The Offenders,
Rakim,
the Germs,
Bizarre Inc.,
Strawberry Alarm Clock,
Simply Red,
Peter Gordon & Love of Life Orchestra,
Public Image Ltd.,
Animal Collective,
Technova,
The Fugs,
Gerry Rafferty,
Lizzy Mercier Descloux,
Ultravox,
Junior Murvin,
Stiv Bators,
Niagra,
Skriet,
Morten Harket,
Johnny Osbourne,
The Men They Couldn't Hang,
Susan Cadogan,
Lonnie Liston Smith,
Television Personalities,
Kings Of Tomorrow,
Pussy Galore,
Ken Boothe,
The Sonics,
The Dave Clark Five,
Slick Rick,
Siouxsie and the Banshees,
Erasure,
The Kinks,
Schoolly D,
Sarah Menescal,
Radio Birdman,
Grey Daturas,
Marmalade,
Iggy Pop,
Inner City,
Ossler,
The Gap Band,
Barrington Levy,
Isaac Hayes,
Guru Guru,
Wally Richardson,
Eve St. Jones,
Symarip,
Soft Cell,
Althea and Donna,
Ralphi Rosario, Ralphi Rosario, Ralphi Rosario, Ralphi Rosario.
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.