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 Netherlands and from Accra.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1979.
I'm losing my edge.
To all the kids in Tehran and Taipei.
I'm losing my edge to the art-school Madrid 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 chamberlin 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 Idris Muhammad to the jazz 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 Yusef Lateef. All the underground hits.
All These Immortal Souls tracks. I heard you have a vinyl of every John Coltrane 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 '90s.
I hear you're buying a harpsichord and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Thompson Twins record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Peanut Butter Conspiracy,
Gil Scott-Heron and Jamie xx,
Robert Wyatt,
Notorious BIG live in Amsterdam,
Lindisfarne,
Leonard Cohen,
Sexual Harrassment,
Franke,
A Certain Ratio,
Scott Walker + Sunn O))),
kango's stein massive,
Stiv Bators,
Iggy Pop,
Technova,
Eric Copeland,
June of 44,
Glambeats Corp.,
Massinfluence,
Hasil Adkins,
The Wake,
Rekid,
Slick Rick,
Zapp,
The Move,
Unwound,
Bill Near,
Steve Hackett,
Echospace,
Mars,
Anthony Braxton,
Alton Ellis,
Lee Hazlewood,
The Gories,
Sarah Menescal,
The Electric Prunes,
Cheater Slicks,
Todd Terry,
Fatback Band,
Whodini,
The Blues Magoos,
The Index,
The Slackers,
Bobby Byrd,
Masters at Work,
The Count Five,
Sex Pistols,
The New Christs,
The Toasters,
David Axelrod,
Lou Christie,
the Bar-Kays,
Television Personalities,
Major Organ And The Adding Machine,
Al Stewart,
Inner City,
Mantronix,
Bad Manners,
Peter & Gordon,
Gil Scott-Heron & Brian Jackson,
Radiohead,
Deepchord, Deepchord, Deepchord, Deepchord.
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.