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 Bahrain and from Delhi.
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 1964 to 1976.
I'm losing my edge.
To all the kids in Johannesburg and Hong Kong.
I'm losing my edge to the art-school Winnipeg 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the synthesizer sounds with much patience.
I was there when Nile Rodgers 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 Model 500 to the punk kids.
I played it at the Spitz.
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 Peter and Kerry. All the underground hits.
All Ultravox tracks. I heard you have a vinyl of every Rites of Spring 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 '80s.
I hear you're buying an organ and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Move record.
I hear that you and your band have sold your guitar and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pulsallama,
Spandau Ballet,
Erasure,
Byron Stingily,
Gian Franco Pienzio,
Morten Harket,
Rufus Thomas,
James White and The Blacks,
Sly & The Family Stone,
Marine Girls,
The Peanut Butter Conspiracy,
The Dead C,
Cal Tjader,
Skarface,
Yusef Lateef,
Robert Hood,
Ultramagnetic MC's,
Heaven 17,
The Human League,
The Tremeloes,
Urselle,
Public Image Ltd.,
The Royal Family And The Poor,
Cabaret Voltaire,
Sandy B,
Jandek,
The Beau Brummels,
Idris Muhammad,
Bang on a Can All-Stars,
Dark Day,
ABC,
Bobby Sherman,
Vladislav Delay,
MDC,
The United States of America,
Arab on Radar,
Mantronix,
Justin Hinds & The Dominoes,
Minutemen,
the Soft Cell,
Lindisfarne,
Fear,
Second Layer,
Unrelated Segments,
Ornette Coleman,
Technova,
Minny Pops,
Q65,
Pete Rock & C.L. Smooth,
Jerry Gold Smith,
Pharoah Sanders,
Aswad,
John Coltrane,
Crime,
Alison Limerick,
Ten City,
Pantytec,
The Fortunes,
David Bowie,
Althea and Donna,
Surgeon,
Infiniti,
Leonard Cohen, Leonard Cohen, Leonard Cohen, Leonard Cohen.
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.