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 Trinidad & Tobago and from Glasgow.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1969 to 1978.
I'm losing my edge.
To all the kids in Shanghai and Bremen.
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 Captain Beefheart 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 Pierre Henry to the rock 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 Sarah Menescal. All the underground hits.
All In Retrospect tracks. I heard you have a vinyl of every The Standells record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a mellotron and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Rites of Spring record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 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 Walker Brothers,
Barrington Levy,
Moebius,
Livin' Joy,
The Mighty Diamonds,
Rod Modell,
Kerri Chandler,
Bush Tetras,
The Motions,
The Residents,
Don Cherry,
Reuben Wilson,
Sparks,
Orchestral Manoeuvres in the Dark,
Anthony Braxton,
AZ,
Oblivians,
MC5,
Metal Thangz,
KRS-One,
Inner City,
La Düsseldorf,
Black Flag,
Cymande,
Flash Fearless,
Rekid,
Kayak,
Pharaoh Sanders and the Fire Engines,
48th St. Collective,
Todd Rundgren,
the Sonics,
These Immortal Souls,
The West Coast Pop Art Experimental Band,
Ajijia Myrayebe,
Ten City,
Camron Feat. Memphis Bleek And Beenie Seigel,
Roger Hodgson,
The American Breed,
Bang On A Can,
The Alarm Clocks,
Rowland S Howard / Lydia Lunch,
Warsaw,
Banda Bassotti,
The Martian,
Ralphi Rosario,
Organ,
the Human League,
Avey Tare & Kría Brekkan,
Duran Duran,
The Durutti Column,
Jesper Dahlback,
Con Funk Shun,
Yusef Lateef,
Echospace,
Harpers Bizarre,
Pantytec,
X-Ray Spex,
Notorious Big And Bone Thugs,
Nation of Ulysses,
The Zeros,
Skaos,
Drive Like Jehu, Drive Like Jehu, Drive Like Jehu, Drive Like Jehu.
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.