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 Zimbabwe and from Sao Paulo.
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 1960 to 1979.
I'm losing my edge.
To all the kids in London and Milan.
I'm losing my edge to the art-school Accra 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the harpsichord sounds with much patience.
I was there when Lou Reed 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 Human League to the techno 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 The Sonics. All the underground hits.
All Terror Squad Feat. Camron tracks. I heard you have a vinyl of every Art Ensemble Of Chicago 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 '80s cut and another box set from the '80s.
I hear you're buying a guitar and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Flamin' Groovies record.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Glambeats Corp.,
David Axelrod,
Colin Newman,
Girls At Our Best!,
Technova,
AZ,
Slave,
Sly & The Family Stone,
Röyhkä ja Rättö ja Lehtisalo,
PIL,
Black Moon,
Niagra,
Tomorrow,
Pagans,
Harmonia,
The Index,
Nation of Ulysses,
Terror Squad Feat. Camron,
Nick Cave & The Bad Seeds,
Gil Scott Heron,
Popol Vuh,
Steve Hackett,
Tres Demented,
Ossler,
Lebanon Hanover,
Man Parrish,
Barry Ungar,
Barclay James Harvest,
Spoonie Gee,
Andrew Ashong & Theo Parrish,
Dark Day,
Basic Channel,
Graham Central Station,
Lou Reed,
Donald Byrd,
The Men They Couldn't Hang,
David McCallum,
Scott Walker + Sunn O))),
The Dead C,
Matthew Halsall,
Average White Band,
Camron Feat. Memphis Bleek And Beenie Seigel,
Jeru the Damaja,
The Five Americans,
The Smoke,
Leonard Cohen,
B.T. Express,
Danielle Patucci,
James White and The Blacks,
Bauhaus,
Manfred Mann's Earth Band,
Marshall Jefferson,
Adolescents,
Jesper Dahlback,
Eyeless In Gaza,
The Gladiators,
Kings Of Tomorrow,
The Fall,
Aaron Thompson,
The Music Machine,
Big Daddy Kane, Big Daddy Kane, Big Daddy Kane, Big Daddy Kane.
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.