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 Greece 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 1966 to 1971.
I'm losing my edge.
To all the kids in London and Manila.
I'm losing my edge to the art-school Mumbai 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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the clarinet sounds with much patience.
I was there when Nile Rodgers 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 Public Image Ltd. to the crunk 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 Isaac Hayes. All the underground hits.
All John Holt tracks. I heard you have a vinyl of every Rhythm & Sound record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a snare and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a UT record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Electric Prunes,
Quadrant,
John Cale,
Angels of Light & Akron/Family,
Excepter,
Blossom Toes,
The Slits,
Young Marble Giants,
Lightning Bolt,
Stereo Dub,
Procol Harum,
John Foxx,
The Slackers,
R.M.O.,
Tim Buckley,
Byron Stingily,
Skriet,
Deutsch Amerikanische Freundschaft,
Patti Smith,
Dave Gahan,
Zapp,
Reuben Wilson,
Barry Ungar,
Malaria!,
Lyres,
Guru Guru,
London Community Gospel Choir,
Jesper Dahlbäck,
Cymande,
The Peanut Butter Conspiracy,
Girls At Our Best!,
Make Up,
Aswad,
Moss Icon,
World's Most,
Main Source,
Dr. Dre and Snoop Doggy Dog,
Funkadelic,
Con Funk Shun,
Roxy Music,
Siouxsie and the Banshees,
Pulsallama,
Mr. Review,
Ice-T,
The Real Kids,
The Cure,
Simply Red,
Saccharine Trust,
Chris & Cosey,
Todd Terry,
Blake Baxter,
Captain Beefheart & His Magic Band,
Dark Day,
The Names,
Lizzy Mercier Descloux,
The Black Dice,
Ronnie Foster,
Heavy D & The Boyz,
Eric Dolphy,
Vladislav Delay,
Marc Almond, Marc Almond, Marc Almond, Marc Almond.
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.