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 Bolivia and from New York.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Johannesburg and Woodstock.
I'm losing my edge to the art-school Mexico City 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 organ 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 Ultravox to the dance 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 Kango’s Stein Massive. All the underground hits.
All Arthur Verocai tracks. I heard you have a vinyl of every Soulsonic Force record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an organ and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Anakelly record.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Louis and Bebe Barron,
Harmonia,
Throbbing Gristle,
Tropical Tobacco,
KRS-One,
Accadde A,
Lafayette Afro Rock Band,
Lightning Bolt,
Stereo Dub,
Tom Boy,
Amon Düül II,
Ronnie Foster,
Pagans,
Andrew Ashong & Theo Parrish,
Eden Ahbez,
Soft Machine,
The Young Rascals,
Pulsallama,
The Trojans,
Stockholm Monsters,
Gil Scott-Heron & Brian Jackson,
New York Dolls,
Grandmaster Flash and the Furious Five,
Bad Manners,
Albert Ayler,
Section 25,
Hasil Adkins,
The Durutti Column,
Flamin' Groovies,
Josef K,
The Knickerbockers,
Monolake,
Y Pants,
Lee Hazlewood,
Cal Tjader,
Ituana,
Joyce Sims,
Siglo XX,
Deutsch Amerikanische Freundschaft,
Skriet,
It's A Beautiful Day,
Minutemen,
The Peanut Butter Conspiracy,
Lower 48,
Orchestral Manoeuvres in the Dark,
Audionom,
Strawberry Alarm Clock,
Max Romeo,
Roxette,
Oppenheimer Analysis,
The Star Department,
Royal Trux,
Todd Rundgren,
Brand Nubian,
Avey Tare,
K-Klass,
The Cramps,
Pharoah Sanders,
Erykah Badu,
Television Personalities,
Notorious BIG live in Amsterdam,
Eric Dolphy, Eric Dolphy, Eric Dolphy, Eric Dolphy.
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.