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 Ethiopia and from Spokane.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1976.
I'm losing my edge.
To all the kids in Cairo and Spokane.
I'm losing my edge to the art-school London 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 synthesizer 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 Procol Harum to the techno kids.
I played it at CBGB's.
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 John Coltrane. All the underground hits.
All Warren Ellis tracks. I heard you have a vinyl of every Dual Sessions 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 '80s cut and another box set from the '90s.
I hear you're buying a mellotron and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Eric Copeland record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
OOIOO,
The Star Department,
Super Lover Cee & Casanova Rud,
The New Christs,
Ornette Coleman,
Television,
Radio Birdman,
the Germs,
The United States of America,
Interpol,
Sad Lovers and Giants,
Con Funk Shun,
Althea and Donna,
John Holt,
Black Sheep,
The Fall,
Ten City,
Erasure,
Isaac Hayes,
MC5,
T. Rex,
Davy DMX,
Minutemen,
Flash Fearless,
Brick,
Underground Resistance,
Desert Stars,
Gary Puckett & The Union Gap,
In Retrospect,
Kings Of Tomorrow,
The Motions,
Hoover,
A Certain Ratio,
Siglo XX,
Index,
Crime,
Cluster,
Jacques Brel,
H. Thieme,
Massinfluence,
E-Dancer,
Subhumans,
Mars,
Spandau Ballet,
Chris & Cosey,
Metal Thangz,
X-Ray Spex,
Fluxion,
Visage,
This Heat,
Jesper Dahlbäck,
The Beau Brummels,
Peter & Gordon,
David McCallum,
Girls At Our Best!,
Popol Vuh,
Grey Daturas,
The Names,
Sandy B,
Guru Guru,
The Mojo Men,
Piero Umiliani,
The Smiths, The Smiths, The Smiths, The Smiths.
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.