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 Tunisia and from Delhi.
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 1972.
I'm losing my edge.
To all the kids in Accra and Winnipeg.
I'm losing my edge to the art-school Lille 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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the synthesizer 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 Monks 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 The Blackbyrds. All the underground hits.
All Liliput tracks. I heard you have a vinyl of every X-102 record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a mellotron and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Porter Ricks record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Skarface,
Wire,
Sunsets and Hearts,
Visage,
Liliput,
Bush Tetras,
The Wake,
Jeru the Damaja,
Funkadelic,
Bill Near,
Joensuu 1685,
Anthony Braxton,
Quando Quango,
The Fugs,
Ice-T,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Seeds,
Matthew Halsall,
the Human League,
The Names,
Rotary Connection,
Jesper Dahlback,
The Smiths,
Robert Hood,
Alton Ellis,
Cameo,
Scientists,
cv313,
Dead Boys,
Nas,
Dorothy Ashby,
Lou Reed,
Fat Boys,
Lyres,
Morten Harket,
John Foxx,
Delta 5,
The Last Poets,
A Certain Ratio,
Maurizio,
Siglo XX,
DeepChord presents Echospace,
Kaleidoscope,
Theoretical Girls,
Joe Smooth,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Peanut Butter Conspiracy,
Marine Girls,
Little Man,
Rosa Yemen,
Brick,
Skaos,
David McCallum,
Pylon,
The Skatalites,
Banda Bassotti,
Jimmy McGriff,
K-Klass,
Grandmaster Flash,
The Fire Engines,
The Dirtbombs,
Bang On A Can,
Basic Channel, Basic Channel, Basic Channel, Basic Channel.
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.