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 Liberia and from Hong Kong.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1963 to 1972.
I'm losing my edge.
To all the kids in Madrid and Copenhagen.
I'm losing my edge to the art-school Johannesburg 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 Robert Palmer 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 Goldenarms 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 Harry Pussy. All the underground hits.
All Warren Ellis tracks. I heard you have a vinyl of every Franke record on German import.
I heard that you have a white label of every seminal rock 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 an organ and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Michelle Simonal record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Techniques,
The Divine Comedy,
Ultimate Spinach,
The J.B.'s,
The Dave Clark Five,
The Busters,
The Gap Band,
Mad Mike,
Technova,
Visage,
James Chance & The Contortions,
Connie Case,
Piero Umiliani,
Thee Headcoats,
Q65,
Gong,
Alice Coltrane,
Oneida,
Blossom Toes,
Ronan,
Tres Demented,
Nas,
Kauko Röyhkä ja Narttu,
Depeche Mode,
Whodini,
Matthew Halsall,
Eden Ahbez,
Flipper,
Rhythim Is Rhythim,
Tropical Tobacco,
Index,
Neil Young,
Reuben Wilson,
Siglo XX,
Frankie Knuckles,
Mary Jane Girls,
The Fire Engines,
June of 44,
Quadrant,
Aural Exciters,
Crime,
The Vogues,
Wally Richardson,
Soft Cell,
The Shadows of Knight,
EPMD,
Audionom,
James White and The Blacks,
Public Image Ltd.,
Mark Hollis,
Liliput,
Interpol,
Sonny Sharrock,
Justin Hinds & The Dominoes,
Soulsonic Force,
Groovy Waters,
Bang On A Can,
Spoonie Gee,
Rahsaan Roland Kirk,
Ponytail,
Duran Duran,
the Association,
Sam Rivers, Sam Rivers, Sam Rivers, Sam Rivers.
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.