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 Georgia and from Beijing.
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 1968 to 1977.
I'm losing my edge.
To all the kids in Mumbai and Winnipeg.
I'm losing my edge to the art-school Copenhagen 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 theremin 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 the Human League to the funk kids.
I played it at the Roxy.
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 Rowland S Howard / Lydia Lunch. All the underground hits.
All Patti Smith tracks. I heard you have a vinyl of every Sister Nancy record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a chamberlin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Strawberry Alarm Clock record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crash Course in Science,
Gerry Rafferty,
The Grass Roots,
Cabaret Voltaire,
Mad Mike,
Sad Lovers and Giants,
Larry & the Blue Notes,
Frankie Knuckles,
Laurel Aitken,
Mantronix,
Glambeats Corp.,
Siglo XX,
Bill Wells,
The Gap Band,
The Index,
The Fuzztones,
Lyres,
Drive Like Jehu,
Masters at Work,
Yaz,
Boogie Down Productions,
Clear Light,
Agent Orange,
Chrome,
Jawbox,
Fatback Band,
Amazonics,
Electric Light Orchestra,
Deakin,
The Leaves,
The Pretty Things,
Malaria!,
Manfred Mann's Earth Band,
X-101,
Lou Reed & John Cale,
The Fall,
Animal Collective,
Country Teasers,
ABBA,
KRS-One,
Nick Cave & The Bad Seeds,
X-Ray Spex,
Accadde A,
The Knickerbockers,
Metal Thangz,
Loose Ends,
The Blackbyrds,
Black Pus,
Marc Almond,
Pharaoh Sanders and the Fire Engines,
Tom Boy,
Pantaleimon,
New Order,
Zero Boys,
E-Dancer,
Bizarre Inc.,
Gong,
Oppenheimer Analysis,
The Last Poets,
Q and Not U, Q and Not U, Q and Not U, Q and Not U.
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.