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 Luxembourg and from Delhi.
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 1968 to 1979.
I'm losing my edge.
To all the kids in Manchester and Halifax.
I'm losing my edge to the art-school Taipei 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 organ 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 The Monks to the jazz kids.
I played it at the Astoria.
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 Main Source. All the underground hits.
All Sticky Fingaz feat. Raekwon tracks. I heard you have a vinyl of every Kayak record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a marimba and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Amon Düül II record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Country Joe & The Fish,
Mr. Review,
The Wake,
The Motions,
It's A Beautiful Day,
Youth Brigade,
Blossom Toes,
Ponytail,
Echo & the Bunnymen,
The Sound,
Fatback Band,
Dawn Penn,
Minutemen,
The Gories,
Sun City Girls,
A Flock of Seagulls,
L. Decosne,
Camberwell Now,
the Normal,
Don Cherry,
Eurythmics,
Yazoo,
Kaleidoscope,
Yellowson,
Stereo Dub,
The Seeds,
Arthur Verocai,
These Immortal Souls,
Reagan Youth,
Be Bop Deluxe,
Quantec,
ABC,
Au Pairs,
Marc Romboy vs. Booka Shade,
Rapeman,
Janne Schatter,
Masters at Work,
The Offenders,
Crooked Eye,
The Five Americans,
Lindisfarne,
June Days,
Marshall Jefferson,
Make Up,
The Slackers,
The Tremeloes,
Charles Mingus,
Fad Gadget,
the Slits,
Black Moon,
Subhumans,
Pantaleimon,
David Bowie,
Juan Atkins,
In Retrospect,
X-Ray Spex,
Talk Talk,
Sunsets and Hearts,
Fort Wilson Riot,
Grandmaster Flash,
Scion,
Liaisons Dangereuses, Liaisons Dangereuses, Liaisons Dangereuses, Liaisons Dangereuses.
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.