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 Cameroon and from Taipei.
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 1967 to 1973.
I'm losing my edge.
To all the kids in Houston and Lyon.
I'm losing my edge to the art-school Beijing 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the organ 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 Deakin to the jazz 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 Girls At Our Best!. All the underground hits.
All These Immortal Souls tracks. I heard you have a vinyl of every Graham Central Station 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 '50s cut and another box set from the '80s.
I hear you're buying a synthesizer and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Don Cherry record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Faust,
CMW,
The Motions,
Average White Band,
Moby Grape,
The New Christs,
Lindisfarne,
Avey Tare's Slasher Flicks,
Monolake,
Crispy Ambulance,
Marc Romboy vs. Booka Shade,
Grandmaster Flash and the Furious Five,
Fat Boys,
Vaughan Mason & Crew,
Ultimate Spinach,
Can,
Minnie Riperton,
T. Rex,
Byron Stingily,
Niagra,
New Order,
The Fortunes,
Louis and Bebe Barron,
Kas Product,
Susan Cadogan,
Nick Fraelich,
Kings Of Tomorrow,
The Chocolate Watch Band,
The Monochrome Set,
The Leaves,
The Smiths,
Trumans Water,
Loose Ends,
Stetsasonic,
Bobby Womack,
Moss Icon,
Section 25,
Ponytail,
The Raincoats,
Don Cherry,
Wally Richardson,
The Slackers,
Cybotron,
Altered Images,
The Trojans,
B.T. Express,
La Düsseldorf,
Amon Düül,
New York Dolls,
T.S.O.L.,
The West Coast Pop Art Experimental Band,
Delon & Dalcan,
Panda Bear,
Josef K,
Technova,
Joey Negro,
Ultramagnetic MC's,
Eurythmics,
Red Lorry Yellow Lorry,
Be Bop Deluxe,
Avey Tare,
Man Parrish,
Rhythm & Sound, Rhythm & Sound, Rhythm & Sound, Rhythm & Sound.
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.