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 Belize and from Lille.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 Mexico City and Woodstock.
I'm losing my edge to the art-school Mumbai 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 güiro sounds with much patience.
I was there when Captain Beefheart 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 Alice Coltrane to the funk 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 Camberwell Now. All the underground hits.
All Sight & Sound tracks. I heard you have a vinyl of every Bill Wells record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
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 Graham Central Station record.
I hear that you and your band have sold your mellotron and bought an organ.
I hear that you and your band have sold your organ and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Move,
New York Dolls,
Fela Kuti,
cv313,
Terrestrial Tones,
Fluxion,
The Knickerbockers,
Peter Gordon & Love of Life Orchestra,
Main Source,
Fat Boys,
Soft Cell,
Half Japanese,
Charles Mingus,
Lou Christie,
Johnny Osbourne,
Bronski Beat,
8 Eyed Spy,
Gichy Dan,
These Immortal Souls,
Intrusion,
The Doobie Brothers,
Patti Smith,
The Peanut Butter Conspiracy,
Cal Tjader,
Deakin,
Drexciya,
Black Bananas,
Aaron Thompson,
Peter & Gordon,
The Last Poets,
Silicon Teens,
Hashim,
Crispy Ambulance,
Matthew Bourne,
Harmonia,
Avey Tare,
Urselle,
Funkadelic,
Carl Craig,
The Monochrome Set,
Bill Wells,
Kool G Rap & DJ Polo,
Teenage Jesus and the Jerks,
Rapeman,
Television,
This Heat,
Sight & Sound,
Ken Boothe,
ABBA,
The Evens,
Amon Düül II,
Drive Like Jehu,
Rufus Thomas,
Gang Starr,
Cheater Slicks,
Tom Boy,
The Raincoats,
Roger Hodgson,
Soulsonic Force,
Peter and Kerry,
Davy DMX,
Orchestral Manoeuvres in the Dark,
The Sound, The Sound, The Sound, The 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.