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 Dominica and from Paris.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Manila and Philadelphia.
I'm losing my edge to the art-school Mexico City 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the harpsichord 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 Grey Daturas to the grime 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 Porter Ricks. All the underground hits.
All Icehouse tracks. I heard you have a vinyl of every Kings Of Tomorrow record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a güiro and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Sunsets and Hearts record.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roy Ayers,
Con Funk Shun,
Heavy D & The Boyz,
Marc Almond,
The Leaves,
Lou Reed & John Cale,
Bootsy's Rubber Band,
Robert Hood,
Glambeats Corp.,
Terry Callier,
Rod Modell,
Porter Ricks,
Aswad,
the Germs,
Pere Ubu,
Guru Guru,
Minnie Riperton,
Simply Red,
The Gun Club,
In Retrospect,
Young Marble Giants,
Country Joe & The Fish,
Los Fastidios,
Gang of Four,
Underground Resistance,
Ohio Players,
Peter Gordon & Love of Life Orchestra,
The Music Machine,
Tubeway Army,
Bobby Sherman,
Mantronix,
Wire,
X-Ray Spex,
Grauzone,
Funkadelic,
Steve Hackett,
Eli Mardock,
Fatback Band,
Gang Green,
Infiniti,
Tommy Roe,
Wighnomy Brothers & Robag Wruhme,
Rosa Yemen,
Desert Stars,
Malaria!,
Idris Muhammad,
Talk Talk,
The Mummies,
Pete Rock & C.L. Smooth,
Cameo,
Bauhaus,
The Cramps,
kango's stein massive,
Sun Ra Arkestra,
Red Lorry Yellow Lorry,
Eric B and Rakim,
Todd Rundgren,
Ituana,
The Dead C,
Sound Behaviour,
Brass Construction, Brass Construction, Brass Construction, Brass Construction.
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.