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 Colombia and from Philadelphia.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1965 to 1979.
I'm losing my edge.
To all the kids in New York and Beijing.
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 mellotron sounds with much patience.
I was there when Captain Beefheart 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 Donald Byrd to the funk kids.
I played it at the Astoria.
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 Kenny Larkin. All the underground hits.
All Alphaville tracks. I heard you have a vinyl of every Black Bananas record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a synthesizer and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Liaisons Dangereuses record.
I hear that you and your band have sold your spring reverb and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Peter Gordon & Love of Life Orchestra,
K-Klass,
The Grass Roots,
The Cramps,
Dorothy Ashby,
John Coltrane,
Shuggie Otis,
Roxette,
Lou Christie,
Kenny Larkin,
Magazine,
Country Teasers,
Tim Buckley,
Amon Düül II,
Wasted Youth,
A Certain Ratio,
Black Pus,
Henry Cow,
Parry Music,
John Holt,
The Offenders,
Rotary Connection,
Alison Limerick,
EPMD,
Aswad,
Sonic Youth,
Brick,
Reagan Youth,
Maleditus Sound,
The Golliwogs,
Ultimate Spinach,
Big Daddy Kane,
Roy Ayers Ubiquity,
Mr. Review,
Siglo XX,
Wings,
The Music Machine,
Delta 5,
Eric Copeland,
Angry Samoans,
Talk Talk,
Ultra Naté,
Subhumans,
The Moleskins,
Electric Light Orchestra,
Avey Tare's Slasher Flicks,
The Monochrome Set,
X-101,
The Human League,
Q65,
Rahsaan Roland Kirk,
The Gap Band,
Red Lorry Yellow Lorry,
Skriet,
Lebanon Hanover,
Visage,
Bush Tetras,
Moebius,
The Pretty Things,
New Order,
La Düsseldorf,
Letta Mbulu,
The Walker Brothers,
Radiopuhelimet, Radiopuhelimet, Radiopuhelimet, Radiopuhelimet.
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.