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 Kenya and from Mumbai.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Spokane and Toronto.
I'm losing my edge to the art-school Jakarta 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 linndrum 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 James White and The Blacks to the rock kids.
I played it at Trash.
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 UT. All the underground hits.
All Big Daddy Kane tracks. I heard you have a vinyl of every The Chocolate Watch Band 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 '90s.
I hear you're buying a clarinet and a guitar 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 snare and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Audionom,
The Busters,
The Men They Couldn't Hang,
The Human League,
The Moody Blues,
Mission of Burma,
Camron Feat. Jay Z And Juelz,
T. Rex,
The Saints,
London Community Gospel Choir,
Eli Mardock,
Red Lorry Yellow Lorry,
Fatback Band,
Aswad,
The Blackbyrds,
Skarface,
The Slits,
June of 44,
John Coltrane,
Scion,
Gil Scott-Heron & Brian Jackson,
The Mighty Diamonds,
Rekid,
Chrome,
Rotary Connection,
The Index,
Tubeway Army,
Gerry Rafferty,
Lalo Schifrin,
Steve Hackett,
Grandmaster Flash and the Furious Five,
Deepchord,
Ultimate Spinach,
Jeff Lynne,
Echospace,
Kaleidoscope,
Organ,
The Victims,
Rufus Thomas,
Bobby Byrd,
Orchestral Manoeuvres in the Dark,
Dennis Brown,
Janne Schatter,
Dorothy Ashby,
Monolake,
These Immortal Souls,
Heavy D & The Boyz,
Joey Negro,
Byron Stingily,
Eric Dolphy,
Art Ensemble Of Chicago,
The Cosmic Jokers,
Gian Franco Pienzio,
Simply Red,
Roxy Music,
Hot Snakes,
the Slits,
Kings Of Tomorrow,
Ossler,
Man Parrish,
Severed Heads,
Japan,
Dark Day, Dark Day, Dark Day, Dark Day.
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.