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 Cape Verde and from London.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1961 to 1977.
I'm losing my edge.
To all the kids in Taipei and Cairo.
I'm losing my edge to the art-school Delhi 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 arpeggiator 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 Lizzy Mercier Descloux to the jazz kids.
I played it at the Crocodile.
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 Brass Construction. All the underground hits.
All James White and The Blacks tracks. I heard you have a vinyl of every The Invisible 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 '80s cut and another box set from the '90s.
I hear you're buying a guitar and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Pulsallama record.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fuzztones,
Lalo Schifrin,
Theoretical Girls,
Liliput,
The Electric Prunes,
Donald Byrd,
The Men They Couldn't Hang,
Harry Pussy,
Manfred Mann's Earth Band,
Big Daddy Kane,
These Immortal Souls,
The Five Americans,
The Cure,
Kango’s Stein Massive,
Michelle Simonal,
Sexual Harrassment,
Roxy Music,
Dual Sessions,
Johnny Osbourne,
The Walker Brothers,
The Invisible,
Altered Images,
Spoonie Gee,
Shoche,
Peter and Kerry,
the Germs,
Alison Limerick,
Pantaleimon,
Flamin' Groovies,
The Standells,
Terry Callier,
Minor Threat,
Kings Of Tomorrow,
Marc Almond,
Gil Scott-Heron & Brian Jackson,
Joyce Sims,
Wasted Youth,
The Buckinghams,
Archie Shepp,
The Leaves,
The J.B.'s,
The Modern Lovers,
Von Mondo,
Orchestral Manoeuvres in the Dark,
Lizzy Mercier Descloux,
Eddi Front,
Young Marble Giants,
Kerrie Biddell,
KRS-One,
Amon Düül II,
Glambeats Corp.,
Fad Gadget,
The Star Department,
Monks,
Robert Görl,
Mr. Review,
Public Enemy,
The Beau Brummels,
Avey Tare,
FM Einheit,
Susan Cadogan,
Nas, Nas, Nas, Nas.
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.