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 Egypt 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 1964 to 1974.
I'm losing my edge.
To all the kids in Glasgow and Calgary.
I'm losing my edge to the art-school Lyon 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 organ sounds with much patience.
I was there when Donald Fagen 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 Al Stewart to the techno 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 Bizarre Inc.. All the underground hits.
All Aswad tracks. I heard you have a vinyl of every Tres Demented record on German import.
I heard that you have a white label of every seminal disco 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 sitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Spandau Ballet record.
I hear that you and your band have sold your güiro and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Flag,
Joyce Sims,
Can,
June Days,
Harmonia,
Ken Boothe,
Junior Murvin,
London Community Gospel Choir,
Schoolly D,
The Techniques,
The Alarm Clocks,
Magazine,
Audionom,
The Evens,
Banda Bassotti,
the Normal,
Sound Behaviour,
Sister Nancy,
Marmalade,
Althea and Donna,
New York Dolls,
Juan Atkins,
The Move,
Prince Buster,
the Germs,
Orchestral Manoeuvres in the Dark,
Connie Case,
Funkadelic,
Lakeside,
Gary Puckett & The Union Gap,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Lungfish,
Michelle Simonal,
Livin' Joy,
Gabor Szabo,
Bill Near,
Little Man,
Easy Going,
Smog,
Pussy Galore,
Cal Tjader,
Albert Ayler,
The Motions,
Morten Harket,
Drexciya,
the Bar-Kays,
Jacques Brel,
Cluster,
The Barracudas,
Graham Central Station,
Nik Kershaw,
Kevin Saunderson,
Yazoo,
Yellowson,
The Sound,
Deadbeat,
Josef K,
Amazonics,
Marvin Gaye,
Make Up,
Colin Newman,
Kango’s Stein Massive, Kango’s Stein Massive, Kango’s Stein Massive, Kango’s Stein Massive.
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.