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 Ivory Coast and from Stockholm.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1979.
I'm losing my edge.
To all the kids in Glasgow and Paris.
I'm losing my edge to the art-school Toronto 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 spring reverb 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 E-Dancer to the rock kids.
I played it at CBGB's.
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 Lebanon Hanover. All the underground hits.
All Gang Starr tracks. I heard you have a vinyl of every Anakelly record on German import.
I heard that you have a white label of every seminal disco 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 theremin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Red Lorry Yellow Lorry record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Barrington Levy,
Nirvana,
JFA,
Fatback Band,
The Names,
The Gun Club,
The Star Department,
Idris Muhammad,
MDC,
The Alarm Clocks,
Amon Düül,
Todd Terry,
Rahsaan Roland Kirk,
Gerry Rafferty,
Jandek,
the Germs,
Richard Hell and the Voidoids,
Half Japanese,
Oppenheimer Analysis,
Mantronix,
Masters at Work,
Can,
Lou Reed & John Cale,
Sam Rivers,
The Techniques,
Arcadia,
Thinking Fellers Union Local 282,
Bang on a Can All-Stars,
The Neon Judgement,
Hashim,
the Fania All-Stars,
Mad Mike,
Boz Scaggs,
Skarface,
Lafayette Afro Rock Band,
The Men They Couldn't Hang,
Suburban Knight,
Aloha Tigers,
Monolake,
The Black Dice,
Scientists,
Lyres,
Gian Franco Pienzio,
The Smoke,
Sun Ra,
Kauko Röyhkä ja Narttu,
Scrapy,
Roy Ayers Ubiquity,
The Fire Engines,
Severed Heads,
Heavy D & The Boyz,
Matthew Bourne,
The Pop Group,
Godley & Creme,
Slick Rick,
Marc Almond,
ABBA,
Carl Craig,
Magma,
Juan Atkins,
Skaos,
Jesper Dahlbäck,
Stiv Bators,
Young Marble Giants, Young Marble Giants, Young Marble Giants, Young Marble Giants.
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.