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 Portland.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Bologna and Beijing.
I'm losing my edge to the art-school Beijing 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 clarinet 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 The Associates to the jazz kids.
I played it at the Hacienda.
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 Schoolly D. All the underground hits.
All Faraquet tracks. I heard you have a vinyl of every It's A Beautiful Day record on German import.
I heard that you have a white label of every seminal rap 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 theremin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Wally Richardson record.
I hear that you and your band have sold your linndrum and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eric Dolphy,
Brick,
Kool Moe Dee,
Kaleidoscope,
Massinfluence,
The Monochrome Set,
Groovy Waters,
Rakim,
Bauhaus,
Public Image Ltd.,
Bobby Womack,
The J.B.'s,
The Birthday Party,
The Searchers,
Albert Ayler,
Art Ensemble Of Chicago,
Easy Going,
the Fania All-Stars,
Juan Atkins,
Bill Wells,
A Flock of Seagulls,
Oblivians,
Maleditus Sound,
Sparks,
Dawn Penn,
Kerrie Biddell,
Pharoah Sanders,
Roy Ayers,
The Fortunes,
Tears for Fears,
Schoolly D,
Technova,
The Motions,
Hashim,
Aloha Tigers,
Nico,
Aural Exciters,
John Lydon,
Wasted Youth,
Jeru the Damaja,
Connie Case,
Rhythim Is Rhythim,
Half Japanese,
Country Joe & The Fish,
Max Romeo,
Quando Quango,
Jacques Brel,
Radiohead,
Roy Ayers Ubiquity,
One Last Wish,
Fluxion,
The Trojans,
Alice Coltrane,
The Barracudas,
Liliput,
Man Eating Sloth,
Joey Negro,
China Crisis,
Andrew Hill,
Amon Düül II,
Motorama,
Marine Girls,
The Toasters, The Toasters, The Toasters, The Toasters.
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.