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 United States and from Houston.
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 1961 to 1971.
I'm losing my edge.
To all the kids in Portland and Lille.
I'm losing my edge to the art-school Glasgow 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 1973 at the first Television practice in a loft in New York.
I was working on the güiro sounds with much patience.
I was there when Nile Rodgers 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 Archie Shepp to the crunk kids.
I played it at the Troubador.
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 Ituana. All the underground hits.
All Surgeon tracks. I heard you have a vinyl of every D'Angelo record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying an arpeggiator and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Be Bop Deluxe record.
I hear that you and your band have sold your theremin and bought an oboe.
I hear that you and your band have sold your oboe and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Zero Boys,
Magazine,
The Pop Group,
The Misunderstood,
Janne Schatter,
The Gun Club,
Black Sheep,
The Standells,
Kenny Larkin,
Warren Ellis,
the Soft Cell,
Aswad,
Stereo Dub,
Clear Light,
Marmalade,
Ronan,
Camouflage,
Talk Talk,
Warsaw,
Rakim,
Graham Central Station,
Half Japanese,
Chris Corsano,
The Blackbyrds,
Aaron Thompson,
Eric B and Rakim,
The Sisters of Mercy,
Laurel Aitken,
Public Image Ltd.,
London Community Gospel Choir,
Isaac Hayes,
8 Eyed Spy,
Barrington Levy,
Pussy Galore,
Spandau Ballet,
Robert Görl,
Ken Boothe,
Pharaoh Sanders and the Fire Engines,
Liliput,
Sad Lovers and Giants,
Deepchord,
Absolute Body Control,
Roy Ayers Ubiquity,
the Normal,
Symarip,
Bush Tetras,
U.S. Maple,
Fat Boys,
Jacob Miller,
The Human League,
Gastr Del Sol,
The Royal Family And The Poor,
Matthew Bourne,
Howard Jones,
Panda Bear,
Can,
The Smiths,
The Searchers,
Whodini,
The Kinks, The Kinks, The Kinks, The Kinks.
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.