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 Jamaica and from Woodstock.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1972.
I'm losing my edge.
To all the kids in Columbus and Accra.
I'm losing my edge to the art-school Manchester 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 harpsichord 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 Darondo to the funk kids.
I played it at the 40 Watt.
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 Offenders. All the underground hits.
All David McCallum tracks. I heard you have a vinyl of every Super Lover Cee & Casanova Rud record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a guitar and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Flash Fearless record.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eric Copeland,
The Men They Couldn't Hang,
EPMD,
Qualms,
Godley & Creme,
Freddie Wadling,
Fat Boys,
Pole,
Warren Ellis,
The Sonics,
Reagan Youth,
Amon Düül II,
48th St. Collective,
The Durutti Column,
David McCallum,
Japan,
Danielle Patucci,
The Standells,
Tears for Fears,
Magazine,
The Names,
DJ Style,
Gang of Four,
Jacques Brel,
Rapeman,
Pharaoh Sanders and the Fire Engines,
Lebanon Hanover,
Sex Pistols,
Supertramp,
The Cowsills,
Lou Reed,
Pet Shop Boys,
Eve St. Jones,
The Toasters,
Ice-T,
Amon Düül,
Ohio Players,
Brick,
Donald Byrd,
Gregory Isaacs,
Robert Wyatt,
Al Stewart,
The Victims,
Avey Tare,
Loose Ends,
ABBA,
L. Decosne,
Barrington Levy,
Red Lorry Yellow Lorry,
Donny Hathaway,
Tim Buckley,
The Sisters of Mercy,
Byron Stingily,
Janne Schatter,
Yellowson,
Johnny Osbourne,
LL Cool J,
DJ Sneak,
Barclay James Harvest,
Buzzcocks,
Chris Corsano,
Icehouse,
Mad Mike,
Aural Exciters, Aural Exciters, Aural Exciters, Aural Exciters.
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.