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 Nicaragua and from Portland.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Seoul and Salvador.
I'm losing my edge to the art-school Stockholm 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 1984 at the first Arcadia practice in a loft in London.
I was working on the spring reverb 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 Amon Düül II to the rap kids.
I played it at Trash.
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 Aloha Tigers. All the underground hits.
All Godley & Creme tracks. I heard you have a vinyl of every Rahsaan Roland Kirk 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 '50s cut and another box set from the '80s.
I hear you're buying a mellotron and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a D'Angelo record.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Flag,
Nation of Ulysses,
The Barracudas,
The Jesus and Mary Chain,
Pantaleimon,
The Remains,
Johnny Clarke,
Matthew Halsall,
Minnie Riperton,
Agent Orange,
Fela Kuti,
Grauzone,
The Dave Clark Five,
The Moody Blues,
The Monks,
Louis and Bebe Barron,
Marc Almond,
cv313,
The Raincoats,
Don Cherry,
The Trojans,
Lightning Bolt,
Sixth Finger,
Brand Nubian,
The Toasters,
Idris Muhammad,
CMW,
Kauko Röyhkä ja Narttu,
Livin' Joy,
Eyeless In Gaza,
Kool Moe Dee,
Angels of Light & Akron/Family,
Pylon,
Parry Music,
The Monochrome Set,
Blossom Toes,
Eurythmics,
Bobbi Humphrey,
Country Teasers,
The Alarm Clocks,
Monolake,
Robert Görl,
Henry Cow,
The Gories,
The Index,
Swans,
Tears for Fears,
The J.B.'s,
Ronnie Foster,
Babytalk,
Orchestral Manoeuvres in the Dark,
Swell Maps,
Technova,
Cluster,
The Fugs,
Neil Young & Crazy Horse,
Warren Ellis,
Quando Quango,
John Holt,
The Pretty Things,
The Doors, The Doors, The Doors, The Doors.
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.