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 Romania and from Winnipeg.
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 1964 to 1976.
I'm losing my edge.
To all the kids in Paris and Columbus.
I'm losing my edge to the art-school Taipei 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 1978 at the first Visage practice in a loft in London.
I was working on the sitar sounds with much patience.
I was there when Michael McDonald 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 Andrew Ashong & Theo Parrish to the rap 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 Mary Jane Girls. All the underground hits.
All Popol Vuh tracks. I heard you have a vinyl of every Pole record on German import.
I heard that you have a white label of every seminal electroclash 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 chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a DNA record.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oblivians,
Man Eating Sloth,
Althea and Donna,
Fat Boys,
Fifty Foot Hose,
Oneida,
Ornette Coleman,
Slick Rick,
Schoolly D,
The Leaves,
The Men They Couldn't Hang,
Agent Orange,
Soul II Soul,
Bootsy Collins,
Byron Stingily,
Kerri Chandler,
Ultramagnetic MC's,
Connie Case,
Soul Sonic Force,
Barry Ungar,
MC5,
Boz Scaggs,
The Durutti Column,
Roger Hodgson,
Black Sheep,
Scientists,
Bootsy's Rubber Band,
The Move,
Lou Reed & John Cale,
Intrusion,
Stetsasonic,
Steve Hackett,
James White and The Blacks,
Toni Rubio,
Warren Ellis,
Thinking Fellers Union Local 282,
Pet Shop Boys,
Red Lorry Yellow Lorry,
The Busters,
Dennis Brown,
Kango’s Stein Massive,
Public Image Ltd.,
Kool Moe Dee,
Altered Images,
Nils Olav,
Brand Nubian,
The West Coast Pop Art Experimental Band,
Joy Division,
Ralphi Rosario,
Marcia Griffiths,
Josef K,
Heavy D & The Boyz,
Beasts of Bourbon,
Camberwell Now,
Grey Daturas,
E-Dancer,
JFA,
Excepter,
Procol Harum,
Yaz,
The Young Rascals,
Boogie Down Productions,
Camron Feat. Memphis Bleek And Beenie Seigel,
Don Cherry,
Eric B and Rakim, Eric B and Rakim, Eric B and Rakim, Eric B and Rakim.
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.