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 Bulgaria and from Tehran.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Sao Paulo and Philadelphia.
I'm losing my edge to the art-school Toronto 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 clarinet 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 Intrusion to the jazz kids.
I played it at the Crocodile.
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 Pussy Galore. All the underground hits.
All Rotary Connection tracks. I heard you have a vinyl of every Ten City record on German import.
I heard that you have a white label of every seminal electroclash 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 guitar and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Jeru the Damaja record.
I hear that you and your band have sold your guitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sparks,
Gerry Rafferty,
The Golliwogs,
The Toasters,
Boz Scaggs,
a-ha,
The Pretty Things,
the Soft Cell,
Ultravox,
Charles Mingus,
The Tremeloes,
Rhythim Is Rhythim,
Youth Brigade,
Max Romeo,
The Jesus and Mary Chain,
Kerrie Biddell,
Hardrive,
Joyce Sims,
48th St. Collective,
the Association,
Absolute Body Control,
Television,
Wire,
Howard Jones,
Sugar Minott,
Thinking Fellers Union Local 282,
Notorious BIG live in Amsterdam,
Kool Moe Dee,
Soft Machine,
Matthew Halsall,
Harry Pussy,
The Durutti Column,
Lalo Schifrin,
Cameo,
Average White Band,
Joe Finger,
The Stooges,
Blancmange,
Lakeside,
T.S.O.L.,
the Swans,
DJ Sneak,
K-Klass,
Bluetip,
The Grass Roots,
Boogie Down Productions,
Urselle,
Nick Cave & The Bad Seeds,
La Düsseldorf,
Bauhaus,
Agitation Free,
Curtis Mayfield,
B.T. Express,
The Velvet Underground,
Aaron Thompson,
PIL,
Danielle Patucci,
Brass Construction,
Drive Like Jehu,
Sad Lovers and Giants,
Chrome,
Stetsasonic, Stetsasonic, Stetsasonic, Stetsasonic.
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.