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 Kuwait and from Paris.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 Tehran.
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 arpeggiator 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 Ultravox to the rap 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 Ornette Coleman. All the underground hits.
All Iggy Pop tracks. I heard you have a vinyl of every The Standells 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 '70s cut and another box set from the '90s.
I hear you're buying a theremin and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Stetsasonic record.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Au Pairs,
Lebanon Hanover,
Intrusion,
Lindisfarne,
The Count Five,
Barclay James Harvest,
Ajijia Myrayebe,
The Residents,
Eric B and Rakim,
Pulsallama,
The Last Poets,
Eric Copeland,
Leonard Cohen,
Q65,
Young Marble Giants,
June of 44,
KRS-One,
Amon Düül,
Hasil Adkins,
Terrestrial Tones,
Bizarre Inc.,
Simply Red,
Peter Gordon & Love of Life Orchestra,
Lee Hazlewood,
Parry Music,
The Fugs,
David Bowie,
Robert Görl,
the Sonics,
Aloha Tigers,
Jesper Dahlback,
Black Pus,
Marc Romboy vs. Booka Shade,
Lonnie Liston Smith,
Joensuu 1685,
Lou Reed & John Cale,
Flipper,
Brass Construction,
Soft Cell,
Gil Scott Heron,
The Gun Club,
Rotary Connection,
Deutsch Amerikanische Freundschaft,
Pylon,
Guru Guru,
Sun City Girls,
Sun Ra Arkestra,
Warren Ellis,
Marvin Gaye,
Cal Tjader,
Bad Manners,
F. McDonald,
Gil Scott-Heron & Brian Jackson,
Yazoo,
Slave,
Kauko Röyhkä ja Narttu,
Wasted Youth,
Nas,
Model 500,
Adolescents,
The Barracudas,
Rekid, Rekid, Rekid, Rekid.
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.