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 Slovenia and from Jakarta.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1967 to 1973.
I'm losing my edge.
To all the kids in Shanghai and Glasgow.
I'm losing my edge to the art-school Toronto 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 arpeggiator 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 Rod Modell to the jazz 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 Louis and Bebe Barron. All the underground hits.
All Ultimate Spinach tracks. I heard you have a vinyl of every Main Source record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an oboe and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Camouflage record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Moebius,
Lou Reed & John Cale,
Electric Light Orchestra,
Crash Course in Science,
Jandek,
Minnie Riperton,
a-ha,
Vladislav Delay,
Popol Vuh,
Kas Product,
Cal Tjader,
EPMD,
Quando Quango,
Johnny Osbourne,
X-Ray Spex,
Blossom Toes,
Mad Mike,
Visionaries,LMNO, T- Love & Iriscience,
Ajijia Myrayebe,
Gang Gang Dance,
Clear Light,
Agitation Free,
Grey Daturas,
The Raincoats,
Beasts of Bourbon,
Severed Heads,
Dead Boys,
Reuben Wilson,
Michelle Simonal,
Black Moon,
Au Pairs,
The Fall,
Niagra,
The Modern Lovers,
Sun Ra,
Heavy D & The Boyz,
Joyce Sims,
ABC,
Bobby Hutcherson,
The Men They Couldn't Hang,
Spoonie Gee,
Amon Düül II,
Scratch Acid,
The Doors,
Alice Coltrane,
Red Lorry Yellow Lorry,
The Mighty Diamonds,
Peter and Kerry,
Angry Samoans,
Oppenheimer Analysis,
Malaria!,
Soft Cell,
Lightning Bolt,
Electric Prunes,
Gabor Szabo,
Bootsy Collins,
KRS-One,
Jesper Dahlbäck,
Althea and Donna,
The Fire Engines,
Scrapy,
Kauko Röyhkä ja Narttu, Kauko Röyhkä ja Narttu, Kauko Röyhkä ja Narttu, Kauko Röyhkä ja Narttu.
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.