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 Morocco and from Toronto.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1965 to 1976.
I'm losing my edge.
To all the kids in Philadelphia and Toronto.
I'm losing my edge to the art-school Sao Paulo 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 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 Unrelated Segments to the rap 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 Simply Red. All the underground hits.
All New York Dolls tracks. I heard you have a vinyl of every Tears for Fears record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a rhodes and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Ornette Coleman record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
One Last Wish,
Joensuu 1685,
The Monochrome Set,
Deutsch Amerikanische Freundschaft,
Gabor Szabo,
Electric Light Orchestra,
Rhythim Is Rhythim,
Public Enemy,
Camron Feat. Jay Z And Juelz,
Whodini,
Groovy Waters,
Agent Orange,
The Gap Band,
Rowland S Howard / Lydia Lunch,
Roxy Music,
Marcia Griffiths,
Dark Day,
L. Decosne,
Donald Byrd,
Hasil Adkins,
Icehouse,
Mr. Review,
Blake Baxter,
Slave,
Essential Logic,
The Detroit Cobras,
The Electric Prunes,
Godley & Creme,
Echo & the Bunnymen,
Ludus,
Arthur Verocai,
Lalann,
Vaughan Mason & Crew,
Shoche,
Bill Wells,
The Standells,
Nick Cave & The Bad Seeds,
Guru Guru,
Heavy D & The Boyz,
De La Soul & Jungle Brothers,
cv313,
The Cosmic Jokers,
Heaven 17,
Chrome,
Toni Rubio,
The Slits,
Brass Construction,
Zero Boys,
Sly & The Family Stone,
Black Moon,
Radio Birdman,
Sam Rivers,
Bill Near,
Smog,
The Names,
Ohio Players,
the Germs,
Joe Finger,
The Fall,
Steve Hackett,
Lee Hazlewood,
Jawbox, Jawbox, Jawbox, Jawbox.
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.