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 London.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Mumbai and Bologna.
I'm losing my edge to the art-school Delhi 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 synthesizer 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 Peter Gordon & Love of Life Orchestra to the funk 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 Bobby Womack. All the underground hits.
All Sarah Menescal tracks. I heard you have a vinyl of every Rod Modell 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 '70s.
I hear you're buying a sitar and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Strawberry Alarm Clock record.
I hear that you and your band have sold your marimba and bought an organ.
I hear that you and your band have sold your organ and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
L. Decosne,
Funkadelic,
Infiniti,
Fatback Band,
The Smoke,
The Invisible,
Electric Prunes,
The Gladiators,
Tommy Roe,
Bizarre Inc.,
CMW,
Jeru the Damaja,
Yazoo,
Marc Almond,
New Order,
The Fortunes,
Bauhaus,
The Misunderstood,
Brothers Johnson,
Amon Düül II,
Shuggie Otis,
John Cale,
The Human League,
Blancmange,
Black Pus,
Sun City Girls,
The United States of America,
Moebius,
Simply Red,
The Pretty Things,
The Standells,
Kas Product,
Max Romeo,
Major Organ And The Adding Machine,
A Certain Ratio,
Brick,
Pantytec,
Warsaw,
Groovy Waters,
Tropical Tobacco,
Monks,
Spandau Ballet,
Röyhkä ja Rättö ja Lehtisalo,
Alton Ellis,
A Flock of Seagulls,
Arcadia,
Excepter,
The Toasters,
John Holt,
Graham Central Station,
R.M.O.,
Thee Headcoats,
Index,
Scrapy,
Wasted Youth,
T. Rex,
Bush Tetras,
Alice Coltrane,
Cluster,
Quantec,
The Moody Blues,
Sound Behaviour, Sound Behaviour, Sound Behaviour, Sound Behaviour.
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.