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 Malta and from Woodstock.
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 1963 to 1972.
I'm losing my edge.
To all the kids in Copenhagen and Taipei.
I'm losing my edge to the art-school Madrid 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 chamberlin 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 Average White Band to the disco 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 Wire. All the underground hits.
All The Flesh Eaters tracks. I heard you have a vinyl of every Joe Finger record on German import.
I heard that you have a white label of every seminal disco 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 an oboe and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Bootsy Collins record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cymande,
Brick,
Robert Hood,
Marine Girls,
Grandmaster Flash and the Furious Five,
Mission of Burma,
Rapeman,
Nils Olav,
Faust,
Janne Schatter,
Grauzone,
Davy DMX,
Lee Hazlewood,
It's A Beautiful Day,
John Foxx,
Soul II Soul,
Jimmy McGriff,
The Move,
Crime,
Black Moon,
Art Ensemble Of Chicago,
Deepchord,
Gil Scott Heron,
Quantec,
Dead Boys,
Letta Mbulu,
Gabor Szabo,
The Mighty Diamonds,
Aswad,
Sparks,
the Germs,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Buzzcocks,
Arab on Radar,
Echo & the Bunnymen,
Blossom Toes,
Sex Pistols,
Lou Reed,
Von Mondo,
Piero Umiliani,
Lizzy Mercier Descloux,
Liaisons Dangereuses,
Tommy Roe,
Deakin,
Johnny Clarke,
a-ha,
The Grass Roots,
Newcleus,
Peter and Kerry,
Lindisfarne,
The J.B.'s,
Bang On A Can,
L. Decosne,
Kerri Chandler,
Y Pants,
Adolescents,
T. Rex,
Swell Maps,
Gichy Dan,
Judy Mowatt,
Talk Talk, Talk Talk, Talk Talk, Talk Talk.
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.