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 Dominican Republic and from London.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 Jakarta and Sao Paulo.
I'm losing my edge to the art-school Madrid 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the clarinet 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 Ten City to the jazz kids.
I played it at Cafe Wha.
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 Tres Demented. All the underground hits.
All Judy Mowatt tracks. I heard you have a vinyl of every Altered Images record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a rhodes and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Negative Approach record.
I hear that you and your band have sold your theremin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bobby Hutcherson,
Crash Course in Science,
Robert Hood,
Moby Grape,
the Fania All-Stars,
Pagans,
Popol Vuh,
The Tremeloes,
Marc Almond,
Orchestral Manoeuvres in the Dark,
Echospace,
The Chocolate Watch Band,
Soul Sonic Force,
the Normal,
Gil Scott-Heron & Brian Jackson,
Country Teasers,
David Axelrod,
Boredoms,
Alphaville,
Eden Ahbez,
Main Source,
Cabaret Voltaire,
Wings,
Ajijia Myrayebe,
Ronnie Foster,
Ten City,
Pet Shop Boys,
Todd Terry,
Ice-T,
Blake Baxter,
Flipper,
X-Ray Spex,
Gichy Dan,
the Germs,
The Happenings,
Pete Rock & C.L. Smooth,
The J.B.'s,
Darondo,
Todd Rundgren,
Fad Gadget,
Black Pus,
Echo & the Bunnymen,
Radiopuhelimet,
Albert Ayler,
MC5,
The Skatalites,
Simply Red,
The Litter,
Shuggie Otis,
Visage,
Angry Samoans,
Scan 7,
Malaria!,
Liaisons Dangereuses,
David McCallum,
Lindisfarne,
Jimmy McGriff,
Arthur Verocai,
Frankie Knuckles,
Pulsallama, Pulsallama, Pulsallama, Pulsallama.
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.