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 Gambia and from Philadelphia.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Paris and Paris.
I'm losing my edge to the art-school London 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 chamberlin sounds with much patience.
I was there when Holger Czukay 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 Sad Lovers and Giants to the techno kids.
I played it at Cafe Wha.
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 Banda Bassotti. All the underground hits.
All Camron Feat. Memphis Bleek And Beenie Seigel tracks. I heard you have a vinyl of every Skarface record on German import.
I heard that you have a white label of every seminal electroclash 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 güiro and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Terry Callier record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
World's Most,
Black Sheep,
Scratch Acid,
Colin Newman,
Godley & Creme,
Kool Moe Dee,
Skriet,
Circle Jerks,
Throbbing Gristle,
Fad Gadget,
Pantytec,
Das Ding,
Larry & the Blue Notes,
Andrew Hill,
Röyhkä ja Rättö ja Lehtisalo,
Mary Jane Girls,
Section 25,
Cal Tjader,
Monolake,
Eden Ahbez,
The Mojo Men,
Junior Murvin,
The Fire Engines,
Matthew Bourne,
Public Enemy,
Deepchord,
Archie Shepp,
Brick,
Ten City,
Todd Terry,
Don Cherry,
Susan Cadogan,
Mo-Dettes,
the Human League,
Surgeon,
The Detroit Cobras,
Au Pairs,
The Cowsills,
Neil Young,
Unrelated Segments,
The Mighty Diamonds,
Yaz,
Japan,
Ultimate Spinach,
Robert Görl,
Alison Limerick,
Andrew Ashong & Theo Parrish,
Gerry Rafferty,
Eric Dolphy,
Isaac Hayes,
MC5,
The Angels of Light,
Crooked Eye,
The Music Machine,
Bronski Beat,
Byron Stingily,
Marine Girls,
Underground Resistance,
China Crisis,
Crime,
Jimmy McGriff, Jimmy McGriff, Jimmy McGriff, Jimmy McGriff.
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.