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 Iceland and from Copenhagen.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Stockholm and Tokyo.
I'm losing my edge to the art-school Hong Kong 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 mellotron sounds with much patience.
I was there when Donald Fagen 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 Alarm Clocks to the disco kids.
I played it at the Spitz.
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 Alison Limerick. All the underground hits.
All The Stooges tracks. I heard you have a vinyl of every Agent Orange record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a güiro and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Gregory Isaacs record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aswad,
Yusef Lateef,
Ronnie Foster,
Roy Ayers Ubiquity,
Motorama,
Fear,
The Divine Comedy,
John Lydon,
Ludus,
The Leaves,
The Victims,
Jacob Miller,
Khruangbin,
London Community Gospel Choir,
Lindisfarne,
Youth Brigade,
Sex Pistols,
Cabaret Voltaire,
Eddi Front,
The Sound,
Slave,
The Detroit Cobras,
Althea and Donna,
Flash Fearless,
Minutemen,
Severed Heads,
The Smoke,
PIL,
Richard Hell and the Voidoids,
The Kinks,
June of 44,
Ten City,
Robert Wyatt,
The Angels of Light,
Scott Walker,
Scion,
The Busters,
The Shadows of Knight,
The Fuzztones,
Anthony Braxton,
Nirvana,
Cameo,
Moebius,
Ponytail,
Pete Rock & C.L. Smooth,
Television,
Half Japanese,
Sugar Minott,
Darondo,
Soulsonic Force,
Barclay James Harvest,
Mary Jane Girls,
Avey Tare's Slasher Flicks,
DJ Style,
Crash Course in Science,
10cc,
The Peanut Butter Conspiracy,
Gregory Isaacs,
Harmonia,
The Doobie Brothers,
Babytalk,
The Blues Magoos,
Intrusion,
Laurel Aitken, Laurel Aitken, Laurel Aitken, Laurel Aitken.
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.