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 Monaco and from Edmonton.
But I was there.
I was there in .
I was there at the first Suicide 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 1967 to 1976.
I'm losing my edge.
To all the kids in Taipei and Columbus.
I'm losing my edge to the art-school Lille 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 1976 at the first Wire practice in a loft in Watford.
I was working on the mellotron 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 T. Rex 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 Maurizio. All the underground hits.
All Amon Düül II tracks. I heard you have a vinyl of every Japan 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 '60s cut and another box set from the '70s.
I hear you're buying a synthesizer and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Gong record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Major Organ And The Adding Machine,
Mo-Dettes,
David Axelrod,
Fear,
Bauhaus,
Stiv Bators,
F. McDonald,
the Bar-Kays,
Camouflage,
The Wake,
Godley & Creme,
Banda Bassotti,
Lou Christie,
Roy Ayers Ubiquity,
Ronnie Foster,
Model 500,
Rahsaan Roland Kirk,
New Age Steppers,
The Gladiators,
Gong,
Absolute Body Control,
The Electric Prunes,
Essential Logic,
Gang Starr,
D'Angelo,
Grey Daturas,
Marvin Gaye,
Ultravox,
Orchestral Manoeuvres in the Dark,
Brass Construction,
Gang Gang Dance,
Radio Birdman,
Jeru the Damaja,
Nils Olav,
The Blackbyrds,
Ornette Coleman,
The Raincoats,
Amon Düül II,
Moby Grape,
Eric Copeland,
Animal Collective,
Jerry's Kids,
Man Eating Sloth,
Bobby Sherman,
Minnie Riperton,
Donald Byrd,
Symarip,
Black Moon,
The Black Dice,
Notorious BIG live in Amsterdam,
Qualms,
Steve Hackett,
Aswad,
Eddi Front,
The Doobie Brothers,
Louis and Bebe Barron,
London Community Gospel Choir,
Blossom Toes,
Crash Course in Science,
Traffic Nightmare,
The Jesus and Mary Chain,
Nas, Nas, Nas, Nas.
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.