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 Ivory Coast and from Mexico City.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Woodstock and Shanghai.
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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the harpsichord 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 Dorothy Ashby to the funk kids.
I played it at the Spitz.
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 David McCallum. All the underground hits.
All Yellowson tracks. I heard you have a vinyl of every MDC record on German import.
I heard that you have a white label of every seminal rock 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 chamberlin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Shoche record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Man Eating Sloth,
Kerri Chandler,
It's A Beautiful Day,
World's Most,
David Axelrod,
Clear Light,
Barclay James Harvest,
Rod Modell,
Adolescents,
X-102,
Boogie Down Productions,
Marc Romboy vs. Booka Shade,
The Last Poets,
Sunsets and Hearts,
Jeff Mills,
Depeche Mode,
Leonard Cohen,
June Days,
Severed Heads,
Girls At Our Best!,
The Doobie Brothers,
Wasted Youth,
Deutsch Amerikanische Freundschaft,
Spandau Ballet,
Drive Like Jehu,
Rekid,
Audionom,
Kas Product,
the Sonics,
Peter & Gordon,
UT,
Das Ding,
The Golliwogs,
Masters at Work,
Pole,
Angels of Light & Akron/Family,
Cheater Slicks,
Minutemen,
Tubeway Army,
Beasts of Bourbon,
Sly & The Family Stone,
Wally Richardson,
Pete Rock & C.L. Smooth,
Ultimate Spinach,
Henry Cow,
Janne Schatter,
Gang Gang Dance,
Major Organ And The Adding Machine,
The Alarm Clocks,
Sällskapet,
Sticky Fingaz feat. Raekwon,
Vainqueur,
Mandrill,
Sexual Harrassment,
Eric Copeland,
The Dead C,
Pet Shop Boys,
Alice Coltrane,
Flash Fearless,
Grandmaster Flash and the Furious Five,
E-Dancer, E-Dancer, E-Dancer, E-Dancer.
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.