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 Sierra Leone and from Woodstock.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1971.
I'm losing my edge.
To all the kids in Paris and Hong Kong.
I'm losing my edge to the art-school Columbus 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 808 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 Bad Manners to the crunk kids.
I played it at Trash.
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 Fifty Foot Hose. All the underground hits.
All Bush Tetras tracks. I heard you have a vinyl of every Super Lover Cee & Casanova Rud record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a güiro and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Stooges record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lungfish,
Idris Muhammad,
The Knickerbockers,
JFA,
Schoolly D,
Throbbing Gristle,
Echo & the Bunnymen,
Selector Dub Narcotic,
Mandrill,
Scion,
The United States of America,
Marcia Griffiths,
Ralphi Rosario,
Newcleus,
Echospace,
Lebanon Hanover,
cv313,
the Bar-Kays,
Johnny Clarke,
The Busters,
Eric B and Rakim,
Kevin Saunderson,
Andrew Ashong & Theo Parrish,
Amon Düül,
Faraquet,
Negative Approach,
Mr. Review,
The Misunderstood,
David McCallum,
Kenny Larkin,
Eddi Front,
Ludus,
Depeche Mode,
Faust,
De La Soul & Jungle Brothers,
Pulsallama,
Thee Headcoats,
Ten City,
Red Lorry Yellow Lorry,
The Seeds,
Rhythim Is Rhythim,
Crispian St. Peters,
The Velvet Underground,
Symarip,
Underground Resistance,
Brass Construction,
Organ,
X-Ray Spex,
Avey Tare's Slasher Flicks,
Rotary Connection,
Piero Umiliani,
Reagan Youth,
Eurythmics,
The Music Machine,
Graham Central Station,
The Barracudas,
Neil Young,
Godley & Creme,
Y Pants,
The Walker Brothers,
These Immortal Souls, These Immortal Souls, These Immortal Souls, These Immortal Souls.
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.