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 Iceland and from Tehran.
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 Toronto and Paris.
I'm losing my edge to the art-school Johannesburg 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 snare 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 Bobby Womack to the rock kids.
I played it at Cafe Wha.
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 Lee Hazlewood. All the underground hits.
All Ash Ra Tempel tracks. I heard you have a vinyl of every Terror Squad Feat. Camron 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 '50s cut and another box set from the '70s.
I hear you're buying an organ and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Gun Club record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gang Gang Dance,
Harmonia,
The Martian,
Inner City,
Joensuu 1685,
The Offenders,
Peter & Gordon,
Soft Cell,
Jerry's Kids,
Ajijia Myrayebe,
The Royal Family And The Poor,
Captain Beefheart & His Magic Band,
Matthew Halsall,
Magma,
Donald Byrd,
Intrusion,
The Selecter,
Thinking Fellers Union Local 282,
Buzzcocks,
Lungfish,
B.T. Express,
Ponytail,
Al Stewart,
Blancmange,
Dr. Dre and Snoop Doggy Dog,
Supertramp,
Trumans Water,
Public Image Ltd.,
In Retrospect,
Hashim,
Siouxsie and the Banshees,
Grey Daturas,
The Move,
Crispian St. Peters,
Cal Tjader,
Laurel Aitken,
Darondo,
Mary Jane Girls,
Tom Boy,
Model 500,
Peter Gordon & Love of Life Orchestra,
Rites of Spring,
The Techniques,
The Neon Judgement,
The Gories,
The Last Poets,
The Durutti Column,
Gil Scott-Heron and Jamie xx,
Pete Rock & C.L. Smooth,
Bobby Sherman,
Wasted Youth,
Susan Cadogan,
Lebanon Hanover,
The Electric Prunes,
UT,
Idris Muhammad,
Wire,
Manfred Mann's Earth Band,
Gil Scott-Heron & Brian Jackson,
The Remains, The Remains, The Remains, The Remains.
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.