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 Belgium and from Copenhagen.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Delhi and Madrid.
I'm losing my edge to the art-school Lyon 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 organ sounds with much patience.
I was there when Lou Reed 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 Lafayette Afro Rock Band to the jazz kids.
I played it at Trash.
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 Skarface. All the underground hits.
All Slick Rick tracks. I heard you have a vinyl of every Alton Ellis 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 '80s cut and another box set from the '70s.
I hear you're buying a guitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The West Coast Pop Art Experimental Band record.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Visage,
Grandmaster Flash and the Furious Five,
The Trojans,
Motorama,
Tim Buckley,
Chrome,
Oblivians,
Prince Buster,
The Motions,
The Human League,
Ultra Naté,
Model 500,
Hasil Adkins,
Barbara Tucker,
DeepChord presents Echospace,
Boogie Down Productions,
Pantytec,
E-Dancer,
Max Romeo,
Sound Behaviour,
The Victims,
Unrelated Segments,
Harry Pussy,
Ronan,
Lucky Dragons,
Magazine,
The Pop Group,
Rowland S Howard / Lydia Lunch,
Derrick May,
Subhumans,
cv313,
The Music Machine,
Eli Mardock,
New York Dolls,
The Busters,
Half Japanese,
The Cramps,
The Durutti Column,
Heaven 17,
Monks,
Depeche Mode,
Carl Craig,
EPMD,
X-101,
T. Rex,
Fifty Foot Hose,
Pulsallama,
the Fania All-Stars,
Thompson Twins,
Jeru the Damaja,
This Heat,
Ultravox,
Audionom,
Rhythim Is Rhythim,
Gil Scott Heron,
Minor Threat,
Colin Newman,
Cal Tjader,
The Blackbyrds,
Massinfluence,
Tom Boy,
The Flesh Eaters,
Cameo,
Monolake, Monolake, Monolake, Monolake.
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.