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 Austria and from Milan.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Sao Paulo and Accra.
I'm losing my edge to the art-school Halifax 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 guitar 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 The Mojo Men to the crunk 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 Pierre Henry. All the underground hits.
All Pulsallama tracks. I heard you have a vinyl of every June of 44 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 '90s.
I hear you're buying a synthesizer and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Albert Ayler record.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
T.S.O.L.,
Marshall Jefferson,
Radio Birdman,
Ultravox,
Surgeon,
Marc Romboy vs. Booka Shade,
James Chance & The Contortions,
Sonic Youth,
Nation of Ulysses,
Pierre Henry,
The Electric Prunes,
Fluxion,
Donald Byrd,
Barry Ungar,
Little Man,
The Sound,
Pharoah Sanders,
Mr. Review,
The Stooges,
Nik Kershaw,
MDC,
Fort Wilson Riot,
Bill Near,
Amazonics,
Hasil Adkins,
Rod Modell,
Thinking Fellers Union Local 282,
Bronski Beat,
Talk Talk,
Ken Boothe,
Funky Four + One,
Erykah Badu,
Pulsallama,
Soulsonic Force,
Sad Lovers and Giants,
Second Layer,
Sight & Sound,
Procol Harum,
LL Cool J,
Fatback Band,
Brass Construction,
Gang of Four,
Boz Scaggs,
Ralphi Rosario,
Roxette,
Essential Logic,
Flamin' Groovies,
Niagra,
Tomorrow,
The Skatalites,
Cecil Taylor,
Trumans Water,
Saccharine Trust,
Marine Girls,
Amon Düül,
Deakin,
Stetsasonic,
Slave,
The J.B.'s,
Japan,
It's A Beautiful Day,
The Busters, The Busters, The Busters, The Busters.
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.