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 Israel and from Shanghai.
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 1970.
I'm losing my edge.
To all the kids in Accra and New York.
I'm losing my edge to the art-school Tokyo 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 Feelies practice in a loft in Haledon.
I was working on the spring reverb 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 Gang Green to the disco kids.
I played it at the Crocodile.
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 Sister Nancy. All the underground hits.
All Rapeman tracks. I heard you have a vinyl of every Yellowson record on German import.
I heard that you have a white label of every seminal grime 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 a harpsichord and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Stetsasonic record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Godley & Creme,
Thinking Fellers Union Local 282,
The Walker Brothers,
Letta Mbulu,
Main Source,
Blancmange,
Lindisfarne,
Swell Maps,
John Coltrane,
Soulsonic Force,
Charles Mingus,
Matthew Halsall,
The Gap Band,
KRS-One,
Lightning Bolt,
the Normal,
Lonnie Liston Smith,
Fela Kuti,
The Angels of Light,
Malaria!,
Traffic Nightmare,
Camouflage,
Donny Hathaway,
Sunsets and Hearts,
Bobby Womack,
Lou Christie,
Sound Behaviour,
Lizzy Mercier Descloux,
Royal Trux,
Patti Smith,
Derrick May,
The Sound,
Terry Callier,
Orchestral Manoeuvres in the Dark,
The Monochrome Set,
Fatback Band,
Gastr Del Sol,
Gerry Rafferty,
Q and Not U,
Lalann,
Bootsy's Rubber Band,
Hardrive,
Ituana,
The Gun Club,
Terrestrial Tones,
Masters at Work,
Soft Cell,
Röyhkä ja Rättö ja Lehtisalo,
Suicide,
H. Thieme,
Cecil Taylor,
Kas Product,
John Foxx,
A Flock of Seagulls,
Robert Görl,
Graham Central Station,
The Blues Magoos,
Tropical Tobacco,
Lou Reed & John Cale,
The Dave Clark Five,
Eric Copeland,
Minny Pops,
Sandy B,
Dawn Penn, Dawn Penn, Dawn Penn, Dawn Penn.
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.