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 Oman and from Tehran.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Tokyo and Hong Kong.
I'm losing my edge to the art-school Salvador 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 sitar sounds with much patience.
I was there when Captain Beefheart 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 Steve Hackett to the jazz kids.
I played it at CBGB's.
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 Visage. All the underground hits.
All Roxy Music tracks. I heard you have a vinyl of every Johnny Osbourne 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 '70s cut and another box set from the '70s.
I hear you're buying a harpsichord and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Strawberry Alarm Clock record.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
T. Rex,
Eve St. Jones,
Hardrive,
Junior Murvin,
Hoover,
Eric B and Rakim,
Jesper Dahlbäck,
MDC,
Massinfluence,
Moebius,
Davy DMX,
the Soft Cell,
Nico,
Chrome,
Maleditus Sound,
Camron Feat. Memphis Bleek And Beenie Seigel,
Roy Ayers,
Fluxion,
Max Romeo,
Scott Walker + Sunn O))),
The Neon Judgement,
Sonny Sharrock,
Roxette,
Peter and Kerry,
Freddie Wadling,
Gregory Isaacs,
The Smiths,
Blancmange,
Swell Maps,
Dennis Brown,
10cc,
One Last Wish,
Jacob Miller,
the Fania All-Stars,
Technova,
Youth Brigade,
Black Flag,
Soft Machine,
The Divine Comedy,
Lebanon Hanover,
Anakelly,
John Coltrane,
Little Man,
Dead Boys,
The Index,
48th St. Collective,
Joe Smooth,
Nas,
The Techniques,
Grauzone,
X-102,
The Sound,
Marmalade,
Derrick May,
Gian Franco Pienzio,
Liaisons Dangereuses,
Gang of Four,
Fifty Foot Hose,
Depeche Mode,
The Grass Roots,
the Human League,
Sun Ra Arkestra,
Iggy Pop, Iggy Pop, Iggy Pop, Iggy Pop.
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.