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 Honduras and from Woodstock.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Houston and Portland.
I'm losing my edge to the art-school Milan 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 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 Kerri Chandler to the punk kids.
I played it at Trash.
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 The Velvet Underground. All the underground hits.
All Rotary Connection tracks. I heard you have a vinyl of every The Mojo Men 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 '60s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Qualms record.
I hear that you and your band have sold your rhodes and bought a marimba.
I hear that you and your band have sold your marimba and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Faust,
The Trojans,
The Victims,
Crime,
Saccharine Trust,
Blancmange,
James White and The Blacks,
Model 500,
Bobby Sherman,
Bill Wells,
These Immortal Souls,
Half Japanese,
Skriet,
The Monks,
The United States of America,
Adolescents,
The Buckinghams,
Angels of Light & Akron/Family,
Liaisons Dangereuses,
Index,
Joe Smooth,
Urselle,
Organ,
K-Klass,
The Mighty Diamonds,
Hoover,
The Wake,
Parry Music,
Delon & Dalcan,
Eden Ahbez,
Prince Buster,
LL Cool J,
Archie Shepp,
Jesper Dahlback,
Kaleidoscope,
OOIOO,
ABC,
Althea and Donna,
Kevin Saunderson,
Lebanon Hanover,
Pete Rock & C.L. Smooth,
The Offenders,
Heaven 17,
Tears for Fears,
the Human League,
Avey Tare's Slasher Flicks,
The Sisters of Mercy,
Television,
Kas Product,
Terrestrial Tones,
The Fuzztones,
Andrew Hill,
Public Enemy,
Derrick May,
Neil Young & Crazy Horse,
DJ Style,
Young Marble Giants,
The Real Kids,
Rosa Yemen,
Gang Green, Gang Green, Gang Green, Gang Green.
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.