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 Philippines and from Houston.
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 1969 to 1978.
I'm losing my edge.
To all the kids in Manchester and Toronto.
I'm losing my edge to the art-school Madrid 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 arpeggiator 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 Bootsy Collins to the grime 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 The Black Dice. All the underground hits.
All Sad Lovers and Giants tracks. I heard you have a vinyl of every Absolute Body Control 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 '80s cut and another box set from the '80s.
I hear you're buying a güiro and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Spandau Ballet record.
I hear that you and your band have sold your linndrum and bought an oboe.
I hear that you and your band have sold your oboe and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Cramps,
The Doors,
Underground Resistance,
Gil Scott-Heron and Jamie xx,
Shuggie Otis,
The Cowsills,
The Beau Brummels,
the Human League,
Shoche,
H. Thieme,
New York Dolls,
Ponytail,
X-Ray Spex,
Cal Tjader,
ABC,
The Skatalites,
Arcadia,
The Victims,
Mary Jane Girls,
Harpers Bizarre,
Popol Vuh,
The Smoke,
World's Most,
Index,
The Moody Blues,
Rosa Yemen,
Zapp,
Juan Atkins,
The Selecter,
Average White Band,
The American Breed,
The Associates,
Flipper,
Suburban Knight,
U.S. Maple,
The Vogues,
The Raincoats,
Mark Hollis,
Davy DMX,
The Golliwogs,
It's A Beautiful Day,
Easy Going,
Avey Tare's Slasher Flicks,
Joe Finger,
Piero Umiliani,
Bobby Sherman,
Lee Hazlewood,
Jesper Dahlback,
Minutemen,
The Tremeloes,
Smog,
Icehouse,
Soul II Soul,
Wally Richardson,
The Pretty Things,
The Divine Comedy,
Rhythm & Sound,
Susan Cadogan,
Warsaw,
Lungfish,
Electric Prunes,
Dennis Brown,
Trumans Water,
Theoretical Girls,
Lonnie Liston Smith, Lonnie Liston Smith, Lonnie Liston Smith, Lonnie Liston Smith.
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.