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 Czech Republic and from Columbus.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Houston and New York.
I'm losing my edge to the art-school Manila 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 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 Orchestral Manoeuvres in the Dark to the dance 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 Slick Rick. All the underground hits.
All the Bar-Kays tracks. I heard you have a vinyl of every Faust record on German import.
I heard that you have a white label of every seminal funk 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 an organ and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your marimba and bought a 808.
I hear that you and your band have sold your 808 and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Trojans,
The Black Dice,
Marcia Griffiths,
Barrington Levy,
Kas Product,
Aaron Thompson,
The Sonics,
Quando Quango,
Goldenarms,
Grey Daturas,
Country Teasers,
Basic Channel,
John Coltrane,
Ralphi Rosario,
Grauzone,
Camouflage,
The Moody Blues,
Fad Gadget,
Massinfluence,
James Chance & The Contortions,
Stereo Dub,
Cymande,
The Seeds,
New Order,
Ten City,
Ice-T,
The Index,
Pharoah Sanders,
Gil Scott-Heron and Jamie xx,
Supertramp,
Grandmaster Flash,
Althea and Donna,
Bootsy's Rubber Band,
Barclay James Harvest,
Michelle Simonal,
ABBA,
Ossler,
Roxette,
A Certain Ratio,
The Victims,
Model 500,
Bang on a Can All-Stars,
Dennis Brown,
Gang Green,
L. Decosne,
The Cowsills,
Bootsy Collins,
Zapp,
Flash Fearless,
Bobby Womack,
Average White Band,
Soul Sonic Force,
Ultimate Spinach,
The Invisible,
Wasted Youth,
Marc Almond,
Urselle,
the Swans,
Scion,
Skarface,
Lyres,
Stockholm Monsters, Stockholm Monsters, Stockholm Monsters, Stockholm Monsters.
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.