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 Togo and from Columbus.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Lyon and Calgary.
I'm losing my edge to the art-school Edmonton 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 mellotron sounds with much patience.
I was there when Nile Rodgers 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 Minor Threat to the jazz kids.
I played it at the Spitz.
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 Fifty Foot Hose. All the underground hits.
All Desert Stars tracks. I heard you have a vinyl of every Average White Band record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a harpsichord and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Pharaoh Sanders and the Fire Engines record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Cramps,
Lee Hazlewood,
ABBA,
Reagan Youth,
Gang of Four,
John Lydon,
Hashim,
Al Stewart,
Donald Byrd,
Lungfish,
Judy Mowatt,
Camberwell Now,
Cabaret Voltaire,
Ronnie Foster,
Livin' Joy,
Ossler,
Youth Brigade,
Deutsch Amerikanische Freundschaft,
Boredoms,
The Remains,
Vainqueur,
Gregory Isaacs,
Pussy Galore,
Toni Rubio,
Black Flag,
Flash Fearless,
Black Pus,
Talk Talk,
the Slits,
Scan 7,
Make Up,
Notorious Big And Bone Thugs,
Black Sheep,
Rotary Connection,
Skaos,
Barbara Tucker,
Monolake,
June of 44,
K-Klass,
The Fuzztones,
Dorothy Ashby,
Juan Atkins,
Magma,
Pete Rock & C.L. Smooth,
Audionom,
The New Christs,
Stetsasonic,
The Grass Roots,
Yusef Lateef,
The Slits,
the Sonics,
Arthur Verocai,
Sällskapet,
Letta Mbulu,
Derrick May,
Sound Behaviour,
David Axelrod,
Stereo Dub,
Boz Scaggs,
Joensuu 1685,
Aural Exciters,
FM Einheit,
Jeff Lynne, Jeff Lynne, Jeff Lynne, Jeff Lynne.
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.