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 Latvia and from New York.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1976.
I'm losing my edge.
To all the kids in Sao Paulo and Columbus.
I'm losing my edge to the art-school Accra 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 theremin sounds with much patience.
I was there when Donald Fagen 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 Traffic Nightmare to the funk kids.
I played it at the Astoria.
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 Eric Dolphy. All the underground hits.
All Gerry Rafferty tracks. I heard you have a vinyl of every Hardrive record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an organ and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Peter Gordon & Love of Life Orchestra record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ronnie Foster,
James White and The Blacks,
New Order,
Maurizio,
The Cramps,
Young Marble Giants,
The Fall,
Beasts of Bourbon,
Leonard Cohen,
The Trojans,
Liaisons Dangereuses,
The Associates,
Joensuu 1685,
Godley & Creme,
Ten City,
Bluetip,
Bootsy's Rubber Band,
The Fuzztones,
Von Mondo,
Frankie Knuckles,
These Immortal Souls,
Echo & the Bunnymen,
Negative Approach,
Rahsaan Roland Kirk,
Yaz,
Barclay James Harvest,
Pagans,
Lucky Dragons,
World's Most,
Soul II Soul,
Gong,
Gregory Isaacs,
Magazine,
The Grass Roots,
The Detroit Cobras,
Shoche,
Bobby Hutcherson,
10cc,
Bobby Womack,
Lee Hazlewood,
Tom Boy,
Rod Modell,
Danielle Patucci,
Jacques Brel,
Trumans Water,
The Chocolate Watch Band,
The Mighty Diamonds,
Hot Snakes,
Heaven 17,
Eve St. Jones,
Harry Pussy,
Groovy Waters,
The Smoke,
Sly & The Family Stone,
Au Pairs,
Dual Sessions,
The Fortunes,
Niagra,
Ohio Players,
Marvin Gaye,
The Offenders, The Offenders, The Offenders, The Offenders.
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.