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 Malta and from Copenhagen.
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 1973.
I'm losing my edge.
To all the kids in Seoul and Halifax.
I'm losing my edge to the art-school Salvador 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 1976 at the first Chic practice in a loft in New York.
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 Mark Hollis to the punk kids.
I played it at the Troubador.
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 E-Dancer. All the underground hits.
All 48th St. Collective tracks. I heard you have a vinyl of every Liliput record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying an oboe and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The West Coast Pop Art Experimental Band record.
I hear that you and your band have sold your guitar and bought an oboe.
I hear that you and your band have sold your oboe and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Barrington Levy,
Swell Maps,
Larry & the Blue Notes,
Brothers Johnson,
The Raincoats,
The Modern Lovers,
The Remains,
Duran Duran,
the Swans,
Ice-T,
Gang Green,
Simply Red,
Kool Moe Dee,
Boogie Down Productions,
Teenage Jesus and the Jerks,
The Evens,
The Offenders,
Echo & the Bunnymen,
The Gap Band,
Mo-Dettes,
the Germs,
The J.B.'s,
Gil Scott Heron,
Lucky Dragons,
The Cowsills,
The Peanut Butter Conspiracy,
The Gories,
The Victims,
Sarah Menescal,
The Busters,
Jimmy McGriff,
Tubeway Army,
Funky Four + One,
Groovy Waters,
Liliput,
Tres Demented,
Ponytail,
The Dirtbombs,
E-Dancer,
Black Flag,
Lalo Schifrin,
Laurel Aitken,
Guru Guru,
Second Layer,
Marc Romboy vs. Booka Shade,
Mary Jane Girls,
Man Parrish,
Amon Düül II,
Alton Ellis,
Nils Olav,
Todd Rundgren,
Tom Boy,
Hashim,
JFA,
Joey Negro,
Art Ensemble Of Chicago,
Little Man,
Vainqueur,
The Smiths,
Brand Nubian,
Average White Band,
The Neon Judgement,
Bronski Beat, Bronski Beat, Bronski Beat, Bronski Beat.
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.