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 Djibouti and from Manila.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Cairo and Lille.
I'm losing my edge to the art-school Sao Paulo 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 marimba sounds with much patience.
I was there when Tom Verlaine 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 Steve Hackett to the electroclash kids.
I played it at the Hacienda.
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 Yellowson. All the underground hits.
All Monks tracks. I heard you have a vinyl of every Goldenarms record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a clarinet and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Black Sheep record.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Gun Club,
Hot Snakes,
Bob Dylan,
Bad Manners,
Notorious BIG live in Amsterdam,
Cameo,
Pierre Henry,
Donny Hathaway,
Surgeon,
Pete Rock & C.L. Smooth,
The Young Rascals,
Main Source,
Jerry Gold Smith,
Jacob Miller,
Roy Ayers Ubiquity,
Deakin,
Jeru the Damaja,
Dual Sessions,
Gary Puckett & The Union Gap,
Ultimate Spinach,
Spandau Ballet,
T. Rex,
Danielle Patucci,
Agitation Free,
Bobby Hutcherson,
Sixth Finger,
Judy Mowatt,
Bill Wells,
Sun Ra Arkestra,
Louis and Bebe Barron,
Organ,
The New Christs,
Circle Jerks,
Connie Case,
Symarip,
Neil Young & Crazy Horse,
Fear,
Darondo,
Guru Guru,
Ultramagnetic MC's,
Brass Construction,
Deadbeat,
Robert Wyatt,
Joensuu 1685,
D'Angelo,
Wire,
Moebius,
Model 500,
Red Lorry Yellow Lorry,
Lightning Bolt,
Super Lover Cee & Casanova Rud,
Stetsasonic,
Animal Collective,
Jesper Dahlback,
Yaz,
Minor Threat,
The Monochrome Set,
Carl Craig,
Nik Kershaw,
Faraquet,
Johnny Clarke,
James White and The Blacks,
kango's stein massive,
Gang of Four, Gang of Four, Gang of Four, Gang of Four.
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.