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 Cuba and from Stockholm.
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 1963 to 1972.
I'm losing my edge.
To all the kids in Toronto and Glasgow.
I'm losing my edge to the art-school Sao Paulo 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the mellotron 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 Rakim to the funk 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 Excepter. All the underground hits.
All Kaleidoscope tracks. I heard you have a vinyl of every Sexual Harrassment record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a marimba and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Roger Hodgson record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Shuggie Otis,
Aaron Thompson,
Moebius,
David McCallum,
New Age Steppers,
New York Dolls,
Girls At Our Best!,
Roxy Music,
Boz Scaggs,
Cymande,
Panda Bear,
Todd Terry,
Aural Exciters,
Minutemen,
The Residents,
Jerry's Kids,
Icehouse,
One Last Wish,
Donny Hathaway,
Louis and Bebe Barron,
Alison Limerick,
Chris & Cosey,
Black Sheep,
Judy Mowatt,
Sound Behaviour,
Eric Copeland,
The Evens,
Rufus Thomas,
Fela Kuti,
The Dirtbombs,
John Holt,
Stockholm Monsters,
Man Eating Sloth,
ABC,
Subhumans,
Crispy Ambulance,
Jacob Miller,
Aloha Tigers,
Yellowson,
Hot Snakes,
Absolute Body Control,
Funkadelic,
The Real Kids,
CMW,
China Crisis,
Eric B and Rakim,
Roger Hodgson,
Public Enemy,
UT,
Electric Light Orchestra,
The Music Machine,
Wolf Eyes,
Pylon,
Mr. Review,
Gerry Rafferty,
the Fania All-Stars,
The Skatalites,
Adolescents,
Bill Wells,
Black Moon,
Faust,
Archie Shepp, Archie Shepp, Archie Shepp, Archie Shepp.
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.