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 Yemen and from Lyon.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1974.
I'm losing my edge.
To all the kids in Houston and Mexico City.
I'm losing my edge to the art-school Sao Paulo 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 Pagans to the techno kids.
I played it at the Hacienda.
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 Lonnie Liston Smith. All the underground hits.
All The Chocolate Watch Band tracks. I heard you have a vinyl of every Josef K record on German import.
I heard that you have a white label of every seminal rock 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 synthesizer and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Morten Harket record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Connie Case,
Accadde A,
Barrington Levy,
Khruangbin,
Intrusion,
Thompson Twins,
Pulsallama,
Barry Ungar,
Faraquet,
Siouxsie and the Banshees,
Moby Grape,
Eddi Front,
Outsiders,
The Dead C,
Schoolly D,
Harry Pussy,
Warsaw,
R.M.O.,
Altered Images,
Gil Scott-Heron and Jamie xx,
Ponytail,
Archie Shepp,
Eyeless In Gaza,
Maurizio,
Skaos,
Ornette Coleman,
Aural Exciters,
Stetsasonic,
Cabaret Voltaire,
Marshall Jefferson,
The Index,
The Residents,
Radiopuhelimet,
Justin Hinds & The Dominoes,
Johnny Clarke,
The Pop Group,
the Sonics,
The Moleskins,
This Heat,
The Kinks,
ABBA,
The Peanut Butter Conspiracy,
Audionom,
Sly & The Family Stone,
Echo & the Bunnymen,
Danielle Patucci,
Eurythmics,
Interpol,
The Mummies,
Skriet,
Gichy Dan,
Sister Nancy,
Hashim,
Radiohead,
Sad Lovers and Giants,
The Toasters,
Popol Vuh,
Amon Düül II,
Ronnie Foster,
Curtis Mayfield,
B.T. Express, B.T. Express, B.T. Express, B.T. Express.
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.