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 Tunisia and from Jakarta.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1972.
I'm losing my edge.
To all the kids in Jakarta and Beijing.
I'm losing my edge to the art-school Spokane 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 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 Ossler to the crunk kids.
I played it at Trash.
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 Glambeats Corp.. All the underground hits.
All Drive Like Jehu tracks. I heard you have a vinyl of every F. McDonald 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 '50s cut and another box set from the '70s.
I hear you're buying a 808 and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Lebanon Hanover record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Avey Tare's Slasher Flicks,
Traffic Nightmare,
The Dirtbombs,
Whodini,
Pete Rock & C.L. Smooth,
Trumans Water,
Maleditus Sound,
Wolf Eyes,
Gong,
Masters at Work,
Parry Music,
Gregory Isaacs,
Chrome,
Richard Hell and the Voidoids,
The Leaves,
Patti Smith,
Liliput,
Mantronix,
Beasts of Bourbon,
Aaron Thompson,
The Birthday Party,
Howard Jones,
Magma,
Junior Murvin,
James Chance & The Contortions,
Reuben Wilson,
Fela Kuti,
The Human League,
Gian Franco Pienzio,
the Bar-Kays,
B.T. Express,
Godley & Creme,
The Real Kids,
Funky Four + One,
Liaisons Dangereuses,
Super Lover Cee & Casanova Rud,
Slave,
EPMD,
Lou Reed,
Tommy Roe,
The Cramps,
Infiniti,
Dennis Brown,
The Angels of Light,
Quando Quango,
Amazonics,
Sight & Sound,
Rowland S Howard / Lydia Lunch,
Surgeon,
Bobby Hutcherson,
Thee Headcoats,
The Sisters of Mercy,
Country Teasers,
Schoolly D,
Roy Ayers Ubiquity,
Sam Rivers,
New Order,
Lucky Dragons,
Peter and Kerry,
The Peanut Butter Conspiracy,
Half Japanese,
K-Klass,
Warren Ellis,
Lungfish, Lungfish, Lungfish, Lungfish.
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.