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 Honduras and from Salvador.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Sao Paulo and Manchester.
I'm losing my edge to the art-school Tehran 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the organ sounds with much patience.
I was there when David Bowie 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 Thee Headcoats to the jazz 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 Freddie Wadling. All the underground hits.
All Make Up tracks. I heard you have a vinyl of every Roger Hodgson record on German import.
I heard that you have a white label of every seminal funk 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 an organ and are throwing your macbook out the window because you want to make something real. You want to make a Rhythm & Sound record.
I hear that you and your band have sold your sitar and bought a 808.
I hear that you and your band have sold your 808 and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pole,
Mary Jane Girls,
Grey Daturas,
Bobbi Humphrey,
Blancmange,
One Last Wish,
Masters at Work,
Nico,
Bizarre Inc.,
Popol Vuh,
Lalo Schifrin,
Chris & Cosey,
Ossler,
Fad Gadget,
Porter Ricks,
Joe Smooth,
Derrick Morgan,
The Fugs,
Public Image Ltd.,
X-102,
Swell Maps,
Technova,
Cabaret Voltaire,
Angels of Light & Akron/Family,
Yusef Lateef,
Stiv Bators,
Gichy Dan,
Model 500,
Fear,
Joy Division,
Underground Resistance,
Godley & Creme,
Hoover,
Bobby Byrd,
The Dirtbombs,
Amazonics,
Icehouse,
Juan Atkins,
Monolake,
Duran Duran,
cv313,
The Neon Judgement,
Fat Boys,
Drive Like Jehu,
T. Rex,
Mo-Dettes,
Warren Ellis,
B.T. Express,
Judy Mowatt,
The Index,
Jeff Mills,
Amon Düül,
Jerry Gold Smith,
T.S.O.L.,
Bobby Sherman,
Zapp,
Yaz,
Rakim,
Chrome,
Half Japanese,
Joey Negro,
Soft Cell,
Unrelated Segments,
Liaisons Dangereuses, Liaisons Dangereuses, Liaisons Dangereuses, Liaisons Dangereuses.
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.