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 Marshall Islands and from Manchester.
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 1976.
I'm losing my edge.
To all the kids in Winnipeg and Spokane.
I'm losing my edge to the art-school Edmonton 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 David Bowie to the crunk kids.
I played it at Trash.
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 E-Dancer. All the underground hits.
All Toni Rubio tracks. I heard you have a vinyl of every The Shadows of Knight record on German import.
I heard that you have a white label of every seminal jazz 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 an arpeggiator and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Jacques Brel record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Henry Cow,
Brothers Johnson,
The Martian,
John Cale,
Fifty Foot Hose,
The Sound,
Dawn Penn,
ABBA,
Warren Ellis,
10cc,
OOIOO,
Lee Hazlewood,
The Detroit Cobras,
Half Japanese,
the Association,
Mantronix,
Althea and Donna,
Lakeside,
Roy Ayers,
Lalann,
The Young Rascals,
Boogie Down Productions,
Agent Orange,
Jeff Mills,
DNA,
The Golliwogs,
Crispian St. Peters,
Blake Baxter,
Cheater Slicks,
Kevin Saunderson,
Tomorrow,
Flash Fearless,
Oblivians,
Easy Going,
Roy Ayers Ubiquity,
Khruangbin,
It's A Beautiful Day,
Fear,
Eric Dolphy,
Pantaleimon,
Masters at Work,
Mars,
The Five Americans,
Eurythmics,
Skaos,
Blancmange,
The Gun Club,
Altered Images,
Unwound,
The Real Kids,
Hasil Adkins,
Beasts of Bourbon,
Yaz,
Barrington Levy,
Malaria!,
Angry Samoans,
Niagra,
Goldenarms,
This Heat,
Quando Quango,
Grauzone,
New York Dolls, New York Dolls, New York Dolls, New York Dolls.
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.