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 Marshall Islands and from Madrid.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1963 to 1977.
I'm losing my edge.
To all the kids in Glasgow and Stockholm.
I'm losing my edge to the art-school Philadelphia 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 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 Silicon Teens to the disco 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 Donald Byrd. All the underground hits.
All Darondo tracks. I heard you have a vinyl of every Minnie Riperton record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a theremin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Man Eating Sloth record.
I hear that you and your band have sold your mellotron and bought a güiro.
I hear that you and your band have sold your güiro and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gregory Isaacs,
Bootsy's Rubber Band,
Roy Ayers Ubiquity,
Neu!,
Skaos,
Malaria!,
Oppenheimer Analysis,
Max Romeo,
The Modern Lovers,
The Star Department,
Frankie Knuckles,
Qualms,
Sällskapet,
Livin' Joy,
Hasil Adkins,
Tim Buckley,
Stockholm Monsters,
Al Stewart,
The Walker Brothers,
Echo & the Bunnymen,
London Community Gospel Choir,
China Crisis,
Lyres,
Basic Channel,
Kool Moe Dee,
Public Image Ltd.,
The Selecter,
Scion,
Tears for Fears,
Johnny Clarke,
Electric Prunes,
New Age Steppers,
Glenn Branca,
Bush Tetras,
Pantytec,
Dark Day,
Gabor Szabo,
Accadde A,
June of 44,
Fat Boys,
Peter Gordon & Love of Life Orchestra,
Outsiders,
Camberwell Now,
Rowland S Howard / Lydia Lunch,
Mad Mike,
Kurtis Blow,
Gastr Del Sol,
Sugar Minott,
Rites of Spring,
The Trojans,
Franke,
Siglo XX,
Marc Romboy vs. Booka Shade,
Man Parrish,
Yaz,
Idris Muhammad,
Jesper Dahlbäck,
The Doors,
Ornette Coleman,
Flash Fearless,
The Fortunes,
The Wake, The Wake, The Wake, The Wake.
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.