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 Switzerland and from Accra.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1977.
I'm losing my edge.
To all the kids in Milan and Tokyo.
I'm losing my edge to the art-school Toronto 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 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 Ajijia Myrayebe to the techno 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 Rapeman. All the underground hits.
All Freddie Wadling tracks. I heard you have a vinyl of every Alison Limerick record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a mellotron and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Terror Squad Feat. Camron record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Masters at Work,
Morten Harket,
Jimmy McGriff,
Gil Scott-Heron and Jamie xx,
Ultravox,
Roxy Music,
John Coltrane,
Thinking Fellers Union Local 282,
Jeff Lynne,
Echo & the Bunnymen,
Yellowson,
Mr. Review,
Funkadelic,
Susan Cadogan,
De La Soul & Jungle Brothers,
Pylon,
Marshall Jefferson,
Zapp,
Kauko Röyhkä ja Narttu,
Visage,
Qualms,
Nas,
Skaos,
Peter and Kerry,
Wasted Youth,
Nils Olav,
Terrestrial Tones,
Excepter,
Neil Young & Crazy Horse,
Buzzcocks,
Arthur Verocai,
Brick,
Camron Feat. Memphis Bleek And Beenie Seigel,
Sällskapet,
Pantytec,
Roger Hodgson,
The Remains,
Niagra,
Chris & Cosey,
The Gun Club,
Big Daddy Kane,
Junior Murvin,
Harpers Bizarre,
Bobby Womack,
The Tremeloes,
Kool Moe Dee,
Model 500,
Lindisfarne,
the Association,
Spandau Ballet,
Country Joe & The Fish,
Gabor Szabo,
Scratch Acid,
Stiv Bators,
Hasil Adkins,
Nik Kershaw,
the Germs,
Maurizio,
Warsaw,
Fluxion,
D'Angelo,
Soulsonic Force,
Black Flag,
London Community Gospel Choir,
Flash Fearless, Flash Fearless, Flash Fearless, Flash Fearless.
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.