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 Congo and from Tehran.
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 1968 to 1975.
I'm losing my edge.
To all the kids in New York 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the rhodes 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 Roxette to the electroclash kids.
I played it at the Roxy.
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 Electric Prunes. All the underground hits.
All Audionom tracks. I heard you have a vinyl of every Wolf Eyes 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 '70s.
I hear you're buying a güiro and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Amazonics,
Arthur Verocai,
Wasted Youth,
Gian Franco Pienzio,
Tommy Roe,
Soulsonic Force,
Franke,
Circle Jerks,
Scott Walker,
Lou Christie,
Judy Mowatt,
Essential Logic,
The Fugs,
Rhythm & Sound,
The Offenders,
Yaz,
Alice Coltrane,
Can,
The Evens,
Blancmange,
The Blues Magoos,
the Slits,
Gichy Dan,
Selector Dub Narcotic,
Dead Boys,
The Skatalites,
Rahsaan Roland Kirk,
Von Mondo,
Popol Vuh,
Talk Talk,
Patti Smith,
Tres Demented,
Fela Kuti,
Delon & Dalcan,
the Swans,
Iggy Pop,
Marc Almond,
Motorama,
Underground Resistance,
Warsaw,
Peter Gordon & Love of Life Orchestra,
Quando Quango,
Con Funk Shun,
Babytalk,
The Cosmic Jokers,
Wally Richardson,
Black Pus,
James Chance & The Contortions,
Make Up,
Robert Görl,
Oneida,
A Flock of Seagulls,
Mr. Review,
Crispian St. Peters,
ABC,
Janne Schatter,
Model 500,
Scan 7,
The Misunderstood,
Eyeless In Gaza,
The Last Poets,
Pantytec,
Dorothy Ashby,
Andrew Hill, Andrew Hill, Andrew Hill, Andrew Hill.
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.