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 Mozambique and from Lille.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Columbus and Stockholm.
I'm losing my edge to the art-school Manchester 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 marimba sounds with much patience.
I was there when Michael McDonald 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 Cecil Taylor to the electroclash kids.
I played it at Cafe Wha.
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 Idris Muhammad. All the underground hits.
All U.S. Maple tracks. I heard you have a vinyl of every The Stooges record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a güiro and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Soul II Soul record.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
ABC,
a-ha,
Moebius,
the Swans,
Fugazi,
Joy Division,
The Real Kids,
Suicide,
Young Marble Giants,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Simply Red,
Donny Hathaway,
Audionom,
Captain Beefheart & His Magic Band,
Procol Harum,
The Toasters,
Lee Hazlewood,
Vladislav Delay,
Rod Modell,
Albert Ayler,
The Durutti Column,
Unrelated Segments,
Blancmange,
Yazoo,
Slave,
Aaron Thompson,
Susan Cadogan,
Index,
Delon & Dalcan,
Lou Reed & John Cale,
Larry & the Blue Notes,
Alton Ellis,
Pussy Galore,
Tears for Fears,
Hot Snakes,
Electric Light Orchestra,
Dorothy Ashby,
Khruangbin,
Negative Approach,
Marvin Gaye,
Lou Reed & Metallica,
Siouxsie and the Banshees,
Bad Manners,
The Zeros,
Barrington Levy,
Boogie Down Productions,
Chris & Cosey,
Michelle Simonal,
Cameo,
Pulsallama,
Visage,
Lafayette Afro Rock Band,
The Associates,
The Sonics,
Röyhkä ja Rättö ja Lehtisalo,
The Dave Clark Five,
The Angels of Light,
The Slackers,
The Gladiators,
Sister Nancy,
Funkadelic,
Piero Umiliani,
The Slits,
Mary Jane Girls, Mary Jane Girls, Mary Jane Girls, Mary Jane Girls.
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.