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 Congo and from Salvador.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Bologna and Manila.
I'm losing my edge to the art-school Jakarta 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 harpsichord 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 John Holt to the crunk kids.
I played it at the 40 Watt.
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 Second Layer. All the underground hits.
All The Seeds tracks. I heard you have a vinyl of every Alice 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 '80s.
I hear you're buying a güiro and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Sex Pistols record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Doobie Brothers,
Funky Four + One,
Massinfluence,
Laurel Aitken,
Pulsallama,
Visionaries,LMNO, T- Love & Iriscience,
Erasure,
Lalann,
James Chance & The Contortions,
Drive Like Jehu,
Nico,
Marcia Griffiths,
Kerrie Biddell,
The Remains,
Heavy D & The Boyz,
Smog,
London Community Gospel Choir,
The United States of America,
Con Funk Shun,
Scott Walker + Sunn O))),
Bill Wells,
Eyeless In Gaza,
Fluxion,
Beasts of Bourbon,
cv313,
Jeff Lynne,
Sister Nancy,
Shuggie Otis,
Scion,
Maurizio,
Wings,
Moby Grape,
Radiopuhelimet,
The Smiths,
The Shadows of Knight,
The Offenders,
Sonic Youth,
Eric Dolphy,
Brass Construction,
Strawberry Alarm Clock,
Jandek,
Bad Manners,
Anakelly,
Sly & The Family Stone,
Althea and Donna,
Rahsaan Roland Kirk,
The Jesus and Mary Chain,
Rhythm & Sound,
Terry Callier,
Cymande,
LL Cool J,
Kings Of Tomorrow,
The Fuzztones,
Godley & Creme,
One Last Wish,
H. Thieme,
The Moody Blues,
Wire,
Curtis Mayfield,
Sound Behaviour,
the Bar-Kays,
Fugazi,
Ultra Naté, Ultra Naté, Ultra Naté, Ultra Naté.
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.