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 Latvia and from Woodstock.
But I was there.
I was there in 1978.
I was there at the first Visage show in 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 1964 to 1979.
I'm losing my edge.
To all the kids in London and Lyon.
I'm losing my edge to the art-school Manila 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 Michael McDonald 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 ABBA to the punk kids.
I played it at the Roxy.
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 Magma. All the underground hits.
All Amon Düül II tracks. I heard you have a vinyl of every Thee Headcoats 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 '50s cut and another box set from the '80s.
I hear you're buying a snare and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Pulsallama 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?
Bill Wells,
the Human League,
Aloha Tigers,
Ralphi Rosario,
Frankie Knuckles,
The Doors,
Rhythim Is Rhythim,
DJ Style,
Japan,
The American Breed,
Sonic Youth,
Crime,
Bobbi Humphrey,
Liliput,
The Peanut Butter Conspiracy,
Judy Mowatt,
The Offenders,
Sunsets and Hearts,
The Moody Blues,
the Slits,
Blake Baxter,
Country Joe & The Fish,
Sly & The Family Stone,
Gian Franco Pienzio,
The Tremeloes,
Roy Ayers,
Animal Collective,
The Music Machine,
Lou Christie,
Kings Of Tomorrow,
Q and Not U,
The Electric Prunes,
The Evens,
Scott Walker,
Cluster,
June of 44,
Leonard Cohen,
Magma,
L. Decosne,
Charles Mingus,
Ronan,
Nik Kershaw,
Sun Ra,
The Standells,
Al Stewart,
Soul Sonic Force,
Todd Rundgren,
Eric B and Rakim,
Barbara Tucker,
Lakeside,
Scion,
The Fugs,
James Chance & The Contortions,
Duran Duran,
The Associates,
Crash Course in Science,
T.S.O.L.,
Barry Ungar,
Oneida,
Fear,
Ultimate Spinach,
Sugar Minott,
Public Image Ltd., Public Image Ltd., Public Image Ltd., Public Image Ltd..
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.