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 Yemen and from Johannesburg.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1971.
I'm losing my edge.
To all the kids in Cairo and Milan.
I'm losing my edge to the art-school Taipei 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 organ 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 UT to the crunk kids.
I played it at the Troubador.
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 Essential Logic. All the underground hits.
All Black Bananas tracks. I heard you have a vinyl of every Gregory Isaacs record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a marimba and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Deutsch Amerikanische Freundschaft record.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dawn Penn,
The Skatalites,
Half Japanese,
Tomorrow,
Ash Ra Tempel,
The Standells,
Easy Going,
The Walker Brothers,
Rufus Thomas,
Aural Exciters,
Main Source,
Lindisfarne,
Ken Boothe,
Joy Division,
Royal Trux,
Black Bananas,
Don Cherry,
Nick Fraelich,
The Offenders,
Skriet,
MDC,
Pagans,
Stiv Bators,
Godley & Creme,
Ituana,
Joyce Sims,
Yellowson,
The Mummies,
X-Ray Spex,
Dark Day,
T. Rex,
Pole,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Sisters of Mercy,
Minor Threat,
Rahsaan Roland Kirk,
Johnny Osbourne,
Drive Like Jehu,
Skarface,
Big Daddy Kane,
Blossom Toes,
the Soft Cell,
Manfred Mann's Earth Band,
Josef K,
Bluetip,
Electric Light Orchestra,
Aswad,
The Sonics,
Basic Channel,
Moebius,
Grauzone,
Orchestral Manoeuvres in the Dark,
Scott Walker,
Marvin Gaye,
Masters at Work,
Gabor Szabo,
Joe Finger,
Electric Prunes,
the Normal,
The Evens,
Pere Ubu,
Derrick Morgan,
The Music Machine,
Marc Almond, Marc Almond, Marc Almond, Marc Almond.
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.