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 Moldova and from Paris.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Toronto and Stockholm.
I'm losing my edge to the art-school Lagos 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 theremin sounds with much patience.
I was there when David Bowie 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 Lindisfarne to the funk kids.
I played it at CBGB's.
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 Bad Manners. All the underground hits.
All Sällskapet tracks. I heard you have a vinyl of every Terror Squad Feat. Camron record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying an organ and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Camberwell Now record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
James Chance & The Contortions,
Lou Reed & Metallica,
The Techniques,
Faraquet,
Joy Division,
Porter Ricks,
Suburban Knight,
Supertramp,
Index,
Quadrant,
The Searchers,
Arab on Radar,
The Moleskins,
PIL,
Smog,
The Human League,
Manfred Mann's Earth Band,
Peter Gordon & Love of Life Orchestra,
the Normal,
E-Dancer,
Shuggie Otis,
Trumans Water,
Second Layer,
Blancmange,
48th St. Collective,
Louis and Bebe Barron,
Audionom,
Barry Ungar,
Lucky Dragons,
Donald Byrd,
John Coltrane,
Sparks,
Isaac Hayes,
Nils Olav,
Eddi Front,
Colin Newman,
Bronski Beat,
The Standells,
Eden Ahbez,
Symarip,
Avey Tare's Slasher Flicks,
Henry Cow,
Soulsonic Force,
Barrington Levy,
New York Dolls,
The Grass Roots,
Ponytail,
Sly & The Family Stone,
The Count Five,
Groovy Waters,
Dorothy Ashby,
Ornette Coleman,
Sugar Minott,
James White and The Blacks,
T. Rex,
A Flock of Seagulls,
The Martian,
Bobby Womack,
Pole,
A Certain Ratio,
The Moody Blues,
Lakeside, Lakeside, Lakeside, Lakeside.
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.