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 Benin and from Madrid.
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 1975.
I'm losing my edge.
To all the kids in Winnipeg and Toronto.
I'm losing my edge to the art-school Tokyo 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 spring reverb sounds with much patience.
I was there when Michael McDonald 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 Howard Jones to the jazz kids.
I played it at the Crocodile.
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 Kurtis Blow. All the underground hits.
All Quadrant tracks. I heard you have a vinyl of every R.M.O. record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a clarinet and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Minnie Riperton record.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Star Department,
Technova,
X-101,
The Monochrome Set,
Excepter,
Black Moon,
Lightning Bolt,
Loose Ends,
Jeff Lynne,
Country Teasers,
Jimmy McGriff,
Idris Muhammad,
Ituana,
Brand Nubian,
Sam Rivers,
Stockholm Monsters,
Ultra Naté,
Eve St. Jones,
The Vogues,
Wighnomy Brothers & Robag Wruhme,
Derrick May,
Gang Gang Dance,
Motorama,
Barclay James Harvest,
Spandau Ballet,
Pantaleimon,
Supertramp,
EPMD,
Liliput,
Junior Murvin,
The West Coast Pop Art Experimental Band,
Roy Ayers,
Dennis Brown,
Avey Tare & Kría Brekkan,
The Mojo Men,
Los Fastidios,
Cameo,
The Cure,
Pet Shop Boys,
Henry Cow,
The Mighty Diamonds,
Fat Boys,
Pete Rock & C.L. Smooth,
Kenny Larkin,
Minnie Riperton,
Country Joe & The Fish,
Kerrie Biddell,
K-Klass,
Gerry Rafferty,
Delta 5,
Heaven 17,
Alphaville,
PIL,
Lyres,
Jesper Dahlback,
Roxy Music,
Groovy Waters,
Ken Boothe,
Roxette,
Matthew Halsall,
Davy DMX, Davy DMX, Davy DMX, Davy DMX.
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.