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 Mongolia and from Tokyo.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Sao Paulo and Cairo.
I'm losing my edge to the art-school Tokyo 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the mellotron sounds with much patience.
I was there when Nile Rodgers 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 Bush Tetras to the jazz kids.
I played it at the Crocodile.
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 John Holt. All the underground hits.
All Tomorrow tracks. I heard you have a vinyl of every Interpol record on German import.
I heard that you have a white label of every seminal funk 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 linndrum and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Siouxsie and the Banshees record.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Donald Byrd,
Aloha Tigers,
Camouflage,
Cal Tjader,
Gian Franco Pienzio,
L. Decosne,
Robert Wyatt,
The Men They Couldn't Hang,
The Smiths,
Shuggie Otis,
Country Joe & The Fish,
UT,
Max Romeo,
The Associates,
The Fire Engines,
Warren Ellis,
Terry Callier,
Jacob Miller,
Deakin,
Orchestral Manoeuvres in the Dark,
EPMD,
Larry & the Blue Notes,
Black Pus,
Circle Jerks,
Section 25,
Index,
Tom Boy,
Avey Tare & Kría Brekkan,
T.S.O.L.,
Radiohead,
H. Thieme,
Pharaoh Sanders and the Fire Engines,
Letta Mbulu,
Ultravox,
Andrew Hill,
Tears for Fears,
Los Fastidios,
The Buckinghams,
Dennis Brown,
Notorious Big And Bone Thugs,
OOIOO,
Deepchord,
De La Soul & Jungle Brothers,
Moby Grape,
Kool G Rap & DJ Polo,
Notorious BIG live in Amsterdam,
kango's stein massive,
Altered Images,
Television Personalities,
Todd Rundgren,
Pantytec,
Sex Pistols,
Desert Stars,
Harry Pussy,
The Evens,
Malaria!,
Tropical Tobacco,
Fatback Band,
The Alarm Clocks,
Stereo Dub,
Siouxsie and the Banshees,
Lucky Dragons, Lucky Dragons, Lucky Dragons, Lucky Dragons.
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.