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 Mauritania and from Tehran.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1971.
I'm losing my edge.
To all the kids in Shanghai and Bologna.
I'm losing my edge to the art-school Hong Kong 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 marimba sounds with much patience.
I was there when Holger Czukay 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 The Black Dice to the jazz kids.
I played it at the Hacienda.
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 Gladiators. All the underground hits.
All Terror Squad Feat. Camron tracks. I heard you have a vinyl of every a-ha 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 '50s cut and another box set from the '70s.
I hear you're buying a marimba and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Joe Finger record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Skarface,
The Fall,
The Music Machine,
Notorious Big And Bone Thugs,
Stetsasonic,
a-ha,
Henry Cow,
Gil Scott-Heron & Brian Jackson,
This Heat,
Little Man,
A Flock of Seagulls,
K-Klass,
Slick Rick,
Jawbox,
Juan Atkins,
Manfred Mann's Earth Band,
Fugazi,
Electric Prunes,
Sun City Girls,
Röyhkä ja Rättö ja Lehtisalo,
Vladislav Delay,
Bizarre Inc.,
The Mojo Men,
Interpol,
The Fire Engines,
Arthur Verocai,
Amazonics,
Pole,
Ronan,
Rakim,
X-Ray Spex,
Angels of Light & Akron/Family,
Bootsy's Rubber Band,
James White and The Blacks,
Country Teasers,
Josef K,
L. Decosne,
Radiohead,
Deepchord,
Tom Boy,
The Litter,
Jesper Dahlback,
Radiopuhelimet,
Lafayette Afro Rock Band,
Dennis Brown,
Gary Puckett & The Union Gap,
Reuben Wilson,
Wings,
The Durutti Column,
The West Coast Pop Art Experimental Band,
MC5,
Traffic Nightmare,
Monolake,
Gil Scott Heron,
Monks,
The Red Krayola,
The Remains,
Clear Light,
Leonard Cohen,
Thee Headcoats,
Pylon,
Marmalade,
Eric Dolphy,
The Smoke, The Smoke, The Smoke, The Smoke.
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.