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 Swaziland and from Woodstock.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1970.
I'm losing my edge.
To all the kids in Columbus and Philadelphia.
I'm losing my edge to the art-school Paris 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 güiro sounds with much patience.
I was there when Lou Reed 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 E-Dancer to the dance kids.
I played it at the Hacienda.
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 Spandau Ballet. All the underground hits.
All The Blackbyrds tracks. I heard you have a vinyl of every Jerry Gold Smith record on German import.
I heard that you have a white label of every seminal electroclash 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 a 808 and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Rapeman record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wolf Eyes,
Funky Four + One,
Con Funk Shun,
The Mojo Men,
Monks,
Althea and Donna,
The Monochrome Set,
London Community Gospel Choir,
Sugar Minott,
Yazoo,
U.S. Maple,
Zero Boys,
Subhumans,
New Order,
Roxette,
Suicide,
Eve St. Jones,
Underground Resistance,
Anthony Braxton,
the Human League,
Fear,
Faraquet,
Sam Rivers,
Camron Feat. Jay Z And Juelz,
Zapp,
Colin Newman,
Strawberry Alarm Clock,
Skriet,
Altered Images,
Selector Dub Narcotic,
Quando Quango,
Robert Hood,
Soft Machine,
Blossom Toes,
Oppenheimer Analysis,
Alton Ellis,
T.S.O.L.,
Thinking Fellers Union Local 282,
Silicon Teens,
The Royal Family And The Poor,
Thompson Twins,
The Count Five,
Public Image Ltd.,
Drive Like Jehu,
The Golliwogs,
Quantec,
Manfred Mann's Earth Band,
Siglo XX,
Mission of Burma,
Lou Reed & John Cale,
The Alarm Clocks,
A Flock of Seagulls,
Suburban Knight,
Vainqueur,
Parry Music,
Glambeats Corp.,
UT,
Depeche Mode,
Country Joe & The Fish,
The Names,
Alice Coltrane,
Index, Index, Index, Index.
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.