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 Tunisia and from Jakarta.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1964 to 1976.
I'm losing my edge.
To all the kids in Delhi and Lagos.
I'm losing my edge to the art-school Edmonton 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 linndrum 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 Connie Case to the grunge kids.
I played it at the Troubador.
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 Roger Hodgson tracks. I heard you have a vinyl of every Inner City 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 '50s cut and another box set from the '80s.
I hear you're buying a snare and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Saccharine Trust record.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Sheep,
The United States of America,
Traffic Nightmare,
a-ha,
Albert Ayler,
Gerry Rafferty,
Marcia Griffiths,
The Stooges,
Index,
Graham Central Station,
Delta 5,
Cybotron,
Rakim,
Janne Schatter,
Brothers Johnson,
L. Decosne,
Thee Headcoats,
Bill Near,
The Men They Couldn't Hang,
Accadde A,
Suburban Knight,
Susan Cadogan,
Flash Fearless,
Make Up,
Panda Bear,
Soul Sonic Force,
Eurythmics,
Kauko Röyhkä ja Narttu,
Sonic Youth,
Q and Not U,
8 Eyed Spy,
Reuben Wilson,
Crooked Eye,
The Detroit Cobras,
Delon & Dalcan,
Tears for Fears,
Siglo XX,
Charles Mingus,
The Smiths,
Echo & the Bunnymen,
Agent Orange,
Oneida,
The Sound,
Ponytail,
Slave,
Chris & Cosey,
The Moody Blues,
ABC,
Gil Scott-Heron and Jamie xx,
New York Dolls,
10cc,
The Shadows of Knight,
The Names,
The Cramps,
Heaven 17,
The Victims,
Kango’s Stein Massive,
Avey Tare & Kría Brekkan,
Erasure,
Talk Talk,
Gong,
Fort Wilson Riot, Fort Wilson Riot, Fort Wilson Riot, Fort Wilson Riot.
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.