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 Antigua and from Stockholm.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1973.
I'm losing my edge.
To all the kids in Portland and London.
I'm losing my edge to the art-school Houston 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 rhodes 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 Ultimate Spinach to the dance kids.
I played it at the Roxy.
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 Byron Stingily. All the underground hits.
All Can tracks. I heard you have a vinyl of every Tubeway Army record on German import.
I heard that you have a white label of every seminal grime 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 snare and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Das Ding record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kayak,
Marshall Jefferson,
Amazonics,
The Red Krayola,
Skarface,
Electric Prunes,
Bill Wells,
Sex Pistols,
Laurel Aitken,
Gil Scott-Heron and Jamie xx,
Camouflage,
Skaos,
John Foxx,
The Index,
Subhumans,
Steve Hackett,
Nation of Ulysses,
Sad Lovers and Giants,
Jeff Mills,
DJ Style,
Anakelly,
Eyeless In Gaza,
Ornette Coleman,
Al Stewart,
Cecil Taylor,
Saccharine Trust,
Young Marble Giants,
Ralphi Rosario,
The Men They Couldn't Hang,
The Smiths,
The Sisters of Mercy,
Jacques Brel,
The Fuzztones,
Fort Wilson Riot,
Delta 5,
David Axelrod,
The Monochrome Set,
the Sonics,
Joey Negro,
Alison Limerick,
Orchestral Manoeuvres in the Dark,
Tears for Fears,
Oblivians,
Inner City,
The Smoke,
Surgeon,
Pharoah Sanders,
Goldenarms,
Jacob Miller,
Franke,
David McCallum,
Radiohead,
Ossler,
Shoche,
Brass Construction,
London Community Gospel Choir,
The West Coast Pop Art Experimental Band,
The Gladiators,
Alice Coltrane,
Avey Tare,
Newcleus,
Television Personalities, Television Personalities, Television Personalities, Television Personalities.
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.