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 Panama and from Lagos.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Sao Paulo and Paris.
I'm losing my edge to the art-school Spokane 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the oboe sounds with much patience.
I was there when Robert Palmer 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 Public Enemy to the grunge kids.
I played it at the Spitz.
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 Second Layer. All the underground hits.
All Outsiders tracks. I heard you have a vinyl of every Bluetip record on German import.
I heard that you have a white label of every seminal techno 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 rhodes and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Motions record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Anakelly,
Girls At Our Best!,
the Soft Cell,
Easy Going,
Andrew Ashong & Theo Parrish,
Index,
Avey Tare's Slasher Flicks,
Can,
Peter Gordon & Love of Life Orchestra,
EPMD,
Pet Shop Boys,
Bang On A Can,
Jeff Lynne,
Chris & Cosey,
Electric Light Orchestra,
Suicide,
Peter & Gordon,
In Retrospect,
Flamin' Groovies,
The Techniques,
Fear,
Thee Headcoats,
Gang Green,
Vaughan Mason & Crew,
Interpol,
The Sonics,
Bobby Hutcherson,
World's Most,
Bill Near,
The J.B.'s,
Janne Schatter,
Godley & Creme,
Prince Buster,
The Tremeloes,
Slave,
The Modern Lovers,
JFA,
Tubeway Army,
Deutsch Amerikanische Freundschaft,
One Last Wish,
The Smiths,
Bluetip,
Kaleidoscope,
Basic Channel,
Pharoah Sanders,
Todd Rundgren,
Absolute Body Control,
David Bowie,
The Last Poets,
Oppenheimer Analysis,
Faraquet,
Skaos,
Amon Düül,
The Motions,
Model 500,
Soul Sonic Force,
Gregory Isaacs,
Tommy Roe,
The Victims,
Mad Mike,
KRS-One,
Rites of Spring, Rites of Spring, Rites of Spring, Rites of Spring.
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.