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 Uruguay and from Copenhagen.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 Madrid and Beijing.
I'm losing my edge to the art-school Glasgow 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 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 The Five Americans to the techno 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 The Toasters. All the underground hits.
All The Velvet Underground tracks. I heard you have a vinyl of every Soulsonic Force record on German import.
I heard that you have a white label of every seminal grime 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 clarinet and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Gladiators record.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Agent Orange,
James White and The Blacks,
The Dave Clark Five,
In Retrospect,
Eve St. Jones,
The Monochrome Set,
Man Parrish,
Audionom,
Ajijia Myrayebe,
Alphaville,
Jeff Lynne,
Lyres,
Television Personalities,
Scion,
Metal Thangz,
Massinfluence,
Maurizio,
Second Layer,
The Fire Engines,
FM Einheit,
The Pop Group,
Pete Rock & C.L. Smooth,
Althea and Donna,
Flipper,
Roger Hodgson,
Ponytail,
The Angels of Light,
Avey Tare's Slasher Flicks,
Larry & the Blue Notes,
The Sound,
Sonny Sharrock,
Cybotron,
Animal Collective,
Scrapy,
Bobby Byrd,
Bizarre Inc.,
Erasure,
Lindisfarne,
Funky Four + One,
Major Organ And The Adding Machine,
Joe Finger,
Dawn Penn,
Alice Coltrane,
Heaven 17,
Adolescents,
Wings,
Dead Boys,
Alison Limerick,
Yellowson,
The Monks,
Hardrive,
The Saints,
The Litter,
The Golliwogs,
U.S. Maple,
The Detroit Cobras,
Aural Exciters,
June Days,
Minnie Riperton,
Circle Jerks, Circle Jerks, Circle Jerks, Circle Jerks.
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.