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 Bulgaria and from Sao Paulo.
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 1971.
I'm losing my edge.
To all the kids in Mexico City and Woodstock.
I'm losing my edge to the art-school Glasgow 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 theremin sounds with much patience.
I was there when Michael McDonald 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 Black Pus to the grime 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 Gang Green. All the underground hits.
All Aswad tracks. I heard you have a vinyl of every Ten City 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 '50s cut and another box set from the '80s.
I hear you're buying a synthesizer and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Offenders record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator 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?
Piero Umiliani,
Tomorrow,
The Gories,
Bizarre Inc.,
Con Funk Shun,
Bootsy's Rubber Band,
Slick Rick,
Albert Ayler,
Rod Modell,
Zapp,
Funkadelic,
Louis and Bebe Barron,
Marvin Gaye,
Ornette Coleman,
Pantytec,
Ossler,
Rosa Yemen,
The Mojo Men,
Joensuu 1685,
Mission of Burma,
The Doobie Brothers,
Wire,
Art Ensemble Of Chicago,
Sällskapet,
Cymande,
Faust,
This Heat,
Howard Jones,
Bobby Sherman,
Franke,
The Barracudas,
Procol Harum,
Guru Guru,
Althea and Donna,
The Pretty Things,
Maleditus Sound,
Dual Sessions,
Minny Pops,
Buzzcocks,
The Associates,
48th St. Collective,
The J.B.'s,
Niagra,
DeepChord presents Echospace,
Oblivians,
Fear,
Iggy Pop,
Boz Scaggs,
David Axelrod,
Lyres,
Thinking Fellers Union Local 282,
Youth Brigade,
Traffic Nightmare,
The Skatalites,
Leonard Cohen,
The Evens,
Quantec,
Alphaville,
Anakelly,
The Dave Clark Five,
Talk Talk, Talk Talk, Talk Talk, Talk Talk.
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.