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 Uzbekistan and from Edmonton.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1961 to 1972.
I'm losing my edge.
To all the kids in Stockholm and Beijing.
I'm losing my edge to the art-school Mumbai 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 chamberlin 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 Sun City Girls to the dance kids.
I played it at CBGB's.
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 Adolescents. All the underground hits.
All Black Sheep tracks. I heard you have a vinyl of every R.M.O. record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a sitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Detroit Cobras record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ash Ra Tempel,
Bobby Sherman,
Skriet,
a-ha,
Oneida,
Richard Hell and the Voidoids,
Country Joe & The Fish,
Audionom,
The Real Kids,
Jerry's Kids,
A Certain Ratio,
Ten City,
The Searchers,
Laurel Aitken,
The Move,
Big Daddy Kane,
The Zeros,
Ice-T,
The Golliwogs,
Matthew Bourne,
Alphaville,
Black Moon,
Teenage Jesus and the Jerks,
Young Marble Giants,
Josef K,
Larry & the Blue Notes,
The Litter,
Accadde A,
Marshall Jefferson,
Sun Ra Arkestra,
the Human League,
Brand Nubian,
Cabaret Voltaire,
Bobbi Humphrey,
The Skatalites,
Kool Moe Dee,
the Germs,
Oppenheimer Analysis,
New Age Steppers,
Captain Beefheart & His Magic Band,
AZ,
Graham Central Station,
Ultra Naté,
Ajijia Myrayebe,
Franke,
Siouxsie and the Banshees,
Reagan Youth,
Magma,
Isaac Hayes,
The Raincoats,
Wally Richardson,
Sticky Fingaz feat. Raekwon,
Connie Case,
Theoretical Girls,
Interpol,
Anthony Braxton,
Eli Mardock,
The Fire Engines,
The Victims,
The Names,
DJ Style, DJ Style, DJ Style, DJ Style.
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.