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 Cameroon and from Paris.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1971.
I'm losing my edge.
To all the kids in New York and Copenhagen.
I'm losing my edge to the art-school Calgary 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 güiro sounds with much patience.
I was there when Lou Reed 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 Faust to the punk kids.
I played it at the Crocodile.
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 Frankie Knuckles. All the underground hits.
All A Certain Ratio tracks. I heard you have a vinyl of every Kevin Saunderson record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a synthesizer and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Section 25 record.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tropical Tobacco,
Jerry Gold Smith,
Amazonics,
Arthur Verocai,
Judy Mowatt,
Country Teasers,
The Mighty Diamonds,
FM Einheit,
Electric Light Orchestra,
Hashim,
Buzzcocks,
Kerrie Biddell,
Lou Christie,
David McCallum,
Frankie Knuckles,
The Doors,
Youth Brigade,
Terry Callier,
The Modern Lovers,
Strawberry Alarm Clock,
Duran Duran,
Con Funk Shun,
Sixth Finger,
Art Ensemble Of Chicago,
Kool G Rap & DJ Polo,
Qualms,
Radio Birdman,
Minnie Riperton,
Boogie Down Productions,
Erykah Badu,
Be Bop Deluxe,
The Raincoats,
Black Moon,
Orchestral Manoeuvres in the Dark,
Eurythmics,
Sunsets and Hearts,
Rahsaan Roland Kirk,
Crooked Eye,
Echospace,
The Gap Band,
The Residents,
The Sisters of Mercy,
Franke,
Fugazi,
The Detroit Cobras,
Peter & Gordon,
Bobby Byrd,
The Monks,
Quadrant,
Royal Trux,
The Music Machine,
Kings Of Tomorrow,
Moss Icon,
Aaron Thompson,
Ornette Coleman,
The Pretty Things,
Chrome,
B.T. Express,
Y Pants,
Deutsch Amerikanische Freundschaft,
Mo-Dettes, Mo-Dettes, Mo-Dettes, Mo-Dettes.
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.