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 Venezuela and from Tokyo.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Halifax and Hong Kong.
I'm losing my edge to the art-school Milan 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 chamberlin sounds with much patience.
I was there when Captain Beefheart 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 Ken Boothe to the disco kids.
I played it at the 40 Watt.
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 Unwound. All the underground hits.
All Minor Threat tracks. I heard you have a vinyl of every Traffic Nightmare record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a rhodes and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Major Organ And The Adding Machine record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Outsiders,
Underground Resistance,
Barbara Tucker,
Michelle Simonal,
Franke,
Shoche,
Tommy Roe,
Eve St. Jones,
The Doobie Brothers,
Con Funk Shun,
Quando Quango,
Public Image Ltd.,
Pulsallama,
The Kinks,
Rowland S Howard / Lydia Lunch,
Ohio Players,
Heaven 17,
Scott Walker,
Neil Young,
Rites of Spring,
The Golliwogs,
Monks,
Blake Baxter,
Kurtis Blow,
Colin Newman,
The Shadows of Knight,
AZ,
Mandrill,
Liaisons Dangereuses,
Aaron Thompson,
Brick,
Severed Heads,
The Fugs,
Qualms,
Harmonia,
The Victims,
Jimmy McGriff,
Radiopuhelimet,
Country Joe & The Fish,
The Wake,
Reuben Wilson,
The Remains,
Massinfluence,
Scan 7,
Robert Görl,
Louis and Bebe Barron,
The Misunderstood,
Ultimate Spinach,
The Blackbyrds,
The Pop Group,
Drexciya,
Suicide,
Toni Rubio,
Moebius,
Funkadelic,
Liliput,
The Gap Band,
Pere Ubu,
Public Enemy, Public Enemy, Public Enemy, Public Enemy.
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.