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 Singapore and from Lagos.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1968 to 1979.
I'm losing my edge.
To all the kids in Seoul and Glasgow.
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 1978 at the first Visage practice in a loft in London.
I was working on the synthesizer 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 X-102 to the rock 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 Crispian St. Peters. All the underground hits.
All Justin Hinds & The Dominoes tracks. I heard you have a vinyl of every Matthew Halsall 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 snare and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Art Ensemble Of Chicago record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Saccharine Trust,
Blossom Toes,
Slick Rick,
Panda Bear,
Y Pants,
Electric Prunes,
Scott Walker + Sunn O))),
T. Rex,
Fluxion,
Funkadelic,
Rod Modell,
Con Funk Shun,
The Remains,
Frankie Knuckles,
Gian Franco Pienzio,
Jawbox,
Aural Exciters,
cv313,
Lucky Dragons,
The Gap Band,
Bobby Sherman,
Pantaleimon,
Soul Sonic Force,
Kaleidoscope,
Reagan Youth,
Marmalade,
Bauhaus,
The Sonics,
X-101,
The Detroit Cobras,
Thee Headcoats,
Yazoo,
Pete Rock & C.L. Smooth,
Suicide,
Sound Behaviour,
Arab on Radar,
Sun City Girls,
Theoretical Girls,
Sly & The Family Stone,
Roy Ayers Ubiquity,
Bill Near,
Technova,
48th St. Collective,
Mary Jane Girls,
The Men They Couldn't Hang,
Carl Craig,
Silicon Teens,
Spoonie Gee,
Connie Case,
Aswad,
Model 500,
Hoover,
Kerri Chandler,
David McCallum,
Mission of Burma,
Grey Daturas,
Nas,
The Doobie Brothers,
Piero Umiliani,
Can,
Echospace,
Röyhkä ja Rättö ja Lehtisalo,
The Motions,
Man Parrish, Man Parrish, Man Parrish, Man Parrish.
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.