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 Hungary and from Beijing.
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 1969 to 1974.
I'm losing my edge.
To all the kids in Manchester and Bremen.
I'm losing my edge to the art-school Lyon 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 spring reverb sounds with much patience.
I was there when Captain Beefheart 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 The Gap Band to the punk kids.
I played it at the Crocodile.
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 Prince Buster. All the underground hits.
All Spandau Ballet tracks. I heard you have a vinyl of every The Blackbyrds 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 '50s cut and another box set from the '70s.
I hear you're buying a güiro and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Dorothy Ashby record.
I hear that you and your band have sold your oboe and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pylon,
The Real Kids,
Peter Gordon & Love of Life Orchestra,
Gregory Isaacs,
Stockholm Monsters,
Negative Approach,
Oppenheimer Analysis,
David Axelrod,
Jacob Miller,
The Human League,
Arcadia,
Magazine,
Jimmy McGriff,
Darondo,
Brass Construction,
Nils Olav,
Cal Tjader,
Procol Harum,
Kango’s Stein Massive,
Liaisons Dangereuses,
Roxette,
Symarip,
June Days,
Young Marble Giants,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Eddi Front,
Outsiders,
L. Decosne,
Kings Of Tomorrow,
The Sound,
The Gories,
Section 25,
Glambeats Corp.,
Crispian St. Peters,
Ten City,
Pussy Galore,
Smog,
Jesper Dahlback,
Arab on Radar,
Ohio Players,
Robert Hood,
Monolake,
Avey Tare & Kría Brekkan,
Icehouse,
The Trojans,
Eve St. Jones,
New York Dolls,
The Sisters of Mercy,
Glenn Branca,
Wighnomy Brothers & Robag Wruhme,
Rotary Connection,
8 Eyed Spy,
Soulsonic Force,
Jerry Gold Smith,
MDC,
The Invisible,
Thinking Fellers Union Local 282,
Soul II Soul,
Gong,
E-Dancer,
John Lydon,
Godley & Creme,
Albert Ayler, Albert Ayler, Albert Ayler, Albert Ayler.
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.