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 Netherlands and from Madrid.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Manchester and Mexico City.
I'm losing my edge to the art-school Cairo 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the oboe sounds with much patience.
I was there when Robert Palmer 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 China Crisis to the grime kids.
I played it at CBGB's.
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 Barry Ungar. All the underground hits.
All Ohio Players tracks. I heard you have a vinyl of every The Velvet Underground record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a linndrum and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Monks record.
I hear that you and your band have sold your mellotron and bought an oboe.
I hear that you and your band have sold your oboe and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bad Manners,
Sixth Finger,
8 Eyed Spy,
kango's stein massive,
Black Sheep,
Camberwell Now,
Lindisfarne,
Sunsets and Hearts,
Peter and Kerry,
The Monochrome Set,
the Germs,
The Fall,
Magma,
Scrapy,
Soulsonic Force,
The Fortunes,
Donny Hathaway,
Kurtis Blow,
Grauzone,
H. Thieme,
Make Up,
The Mojo Men,
Janne Schatter,
Television,
Amon Düül II,
ABBA,
Hoover,
Warsaw,
Nik Kershaw,
Icehouse,
Alice Coltrane,
Warren Ellis,
Wire,
10cc,
The Men They Couldn't Hang,
The West Coast Pop Art Experimental Band,
Harmonia,
Rosa Yemen,
Ponytail,
The Invisible,
Ituana,
Lou Christie,
Masters at Work,
Roy Ayers Ubiquity,
The Standells,
Popol Vuh,
Spandau Ballet,
Bill Wells,
Sam Rivers,
The Real Kids,
Bobby Hutcherson,
X-101,
Archie Shepp,
The Birthday Party,
The Searchers,
Lower 48,
Johnny Osbourne,
Steve Hackett,
Gian Franco Pienzio,
Animal Collective,
Scan 7,
Gregory Isaacs, Gregory Isaacs, Gregory Isaacs, Gregory Isaacs.
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.