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 Austria and from Sao Paulo.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Lagos and Taipei.
I'm losing my edge to the art-school Glasgow 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 guitar sounds with much patience.
I was there when Nile Rodgers 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 Don Cherry to the jazz 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 The Modern Lovers. All the underground hits.
All Marshall Jefferson tracks. I heard you have a vinyl of every Captain Beefheart & His Magic Band 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 '70s cut and another box set from the '80s.
I hear you're buying a marimba and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Arab on Radar record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Carl Craig,
Cameo,
Glambeats Corp.,
Kerri Chandler,
The Sonics,
The Star Department,
Ultramagnetic MC's,
Dave Gahan,
Jerry Gold Smith,
The Fortunes,
MDC,
The Wake,
The Dirtbombs,
Tom Boy,
Zapp,
Can,
John Holt,
Lee Hazlewood,
L. Decosne,
Basic Channel,
the Bar-Kays,
Clear Light,
Model 500,
June Days,
Sam Rivers,
Liaisons Dangereuses,
The Flesh Eaters,
Sunsets and Hearts,
Altered Images,
The Doobie Brothers,
Amon Düül,
X-Ray Spex,
Shoche,
Kool G Rap & DJ Polo,
Lucky Dragons,
Maleditus Sound,
Dual Sessions,
Heaven 17,
Harry Pussy,
The Walker Brothers,
Eurythmics,
Connie Case,
Average White Band,
Boogie Down Productions,
Art Ensemble Of Chicago,
New Age Steppers,
Gang Starr,
Red Lorry Yellow Lorry,
The Motions,
Patti Smith,
Harmonia,
The Red Krayola,
Rekid,
Darondo,
Rosa Yemen,
Symarip,
Procol Harum,
The Vogues,
Vaughan Mason & Crew,
Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis.
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.