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 South Africa and from Tokyo.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1963 to 1979.
I'm losing my edge.
To all the kids in Lagos and Seoul.
I'm losing my edge to the art-school Johannesburg 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 sitar 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 Dawn Penn to the disco 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 Country Joe & The Fish. All the underground hits.
All Vaughan Mason & Crew tracks. I heard you have a vinyl of every Faust record on German import.
I heard that you have a white label of every seminal rock 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 guitar and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Flipper 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?
Groovy Waters,
Flash Fearless,
Brass Construction,
Vladislav Delay,
Pylon,
Warsaw,
The Mojo Men,
MC5,
Larry & the Blue Notes,
London Community Gospel Choir,
Jawbox,
Eurythmics,
The Neon Judgement,
Carl Craig,
Man Parrish,
Schoolly D,
Laurel Aitken,
The Shadows of Knight,
The Index,
Davy DMX,
Jandek,
Neu!,
Kauko Röyhkä ja Narttu,
Bluetip,
The Cowsills,
T.S.O.L.,
Harmonia,
Captain Beefheart & His Magic Band,
Television Personalities,
Yazoo,
The Count Five,
Henry Cow,
Althea and Donna,
Judy Mowatt,
The Music Machine,
Con Funk Shun,
Kaleidoscope,
Kerri Chandler,
Model 500,
Röyhkä ja Rättö ja Lehtisalo,
Deepchord,
Silicon Teens,
Altered Images,
Don Cherry,
Eyeless In Gaza,
Anakelly,
Nils Olav,
Popol Vuh,
The Jesus and Mary Chain,
Juan Atkins,
Accadde A,
The Doors,
Danielle Patucci,
Sound Behaviour,
A Certain Ratio,
Howard Jones,
Babytalk,
Nation of Ulysses,
E-Dancer,
PIL, PIL, PIL, PIL.
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.