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 Lesotho and from Tokyo.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 Philadelphia and Bremen.
I'm losing my edge to the art-school Houston 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 808 sounds with much patience.
I was there when Tom Verlaine 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 Ken Boothe to the grime kids.
I played it at the Hacienda.
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 Fat Boys. All the underground hits.
All Art Ensemble Of Chicago tracks. I heard you have a vinyl of every The Gap Band record on German import.
I heard that you have a white label of every seminal funk 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 a guitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Idris Muhammad record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Mojo Men,
Soulsonic Force,
Ultramagnetic MC's,
Intrusion,
Vainqueur,
Stockholm Monsters,
Aural Exciters,
In Retrospect,
L. Decosne,
Eric Copeland,
John Cale,
Das Ding,
The Dead C,
Lou Reed,
Lafayette Afro Rock Band,
Metal Thangz,
Lou Reed & Metallica,
Johnny Clarke,
Letta Mbulu,
Glenn Branca,
Ken Boothe,
Joe Smooth,
LL Cool J,
Severed Heads,
The J.B.'s,
Soft Machine,
Simply Red,
Symarip,
Ralphi Rosario,
Marshall Jefferson,
Dead Boys,
Sandy B,
The Durutti Column,
The Seeds,
Unrelated Segments,
Lower 48,
Peter and Kerry,
Howard Jones,
Zero Boys,
DeepChord presents Echospace,
Lalo Schifrin,
Peter Gordon & Love of Life Orchestra,
The American Breed,
Freddie Wadling,
New York Dolls,
Infiniti,
The Red Krayola,
Q and Not U,
Reagan Youth,
Davy DMX,
Max Romeo,
Judy Mowatt,
Byron Stingily,
Massinfluence,
Nation of Ulysses,
Scrapy,
Sällskapet,
Sunsets and Hearts,
Cameo,
Roy Ayers Ubiquity,
Nick Cave & The Bad Seeds,
the Swans,
Kango’s Stein Massive,
John Foxx, John Foxx, John Foxx, John Foxx.
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.