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 Denmark and from Seoul.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Shanghai and Delhi.
I'm losing my edge to the art-school Winnipeg 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 harpsichord sounds with much patience.
I was there when Michael McDonald 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 The Mummies to the techno 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 Clear Light. All the underground hits.
All ABBA 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 funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a spring reverb and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Robert Wyatt record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Brick,
Marcia Griffiths,
the Human League,
Jeru the Damaja,
FM Einheit,
Jawbox,
Boogie Down Productions,
Lalann,
The Monochrome Set,
Glambeats Corp.,
Judy Mowatt,
Sad Lovers and Giants,
Matthew Halsall,
Joe Finger,
Chris Corsano,
Terrestrial Tones,
Delon & Dalcan,
Echospace,
John Lydon,
Gabor Szabo,
Rotary Connection,
Joe Smooth,
Toni Rubio,
Eli Mardock,
Sunsets and Hearts,
cv313,
Neu!,
The Techniques,
The Buckinghams,
Terror Squad Feat. Camron,
The Shadows of Knight,
Bobby Sherman,
Jesper Dahlback,
Gerry Rafferty,
Crime,
Big Daddy Kane,
Avey Tare & Kría Brekkan,
F. McDonald,
Joey Negro,
Kango’s Stein Massive,
Althea and Donna,
Circle Jerks,
Suicide,
The Mummies,
48th St. Collective,
Yazoo,
Connie Case,
Pere Ubu,
La Düsseldorf,
Delta 5,
Flamin' Groovies,
Albert Ayler,
Sandy B,
John Cale,
Vaughan Mason & Crew,
Amon Düül,
Eden Ahbez,
8 Eyed Spy,
Royal Trux, Royal Trux, Royal Trux, Royal Trux.
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.