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 Colombia and from Woodstock.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1977.
I'm losing my edge.
To all the kids in Winnipeg and Tehran.
I'm losing my edge to the art-school Taipei 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 theremin sounds with much patience.
I was there when David Bowie 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 Mark Hollis to the techno 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 Ice-T. All the underground hits.
All the Sonics tracks. I heard you have a vinyl of every Desert Stars record on German import.
I heard that you have a white label of every seminal crunk 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 clarinet and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Eli Mardock record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
R.M.O.,
Crash Course in Science,
Vainqueur,
World's Most,
Alphaville,
Drive Like Jehu,
EPMD,
Sly & The Family Stone,
Harry Pussy,
The J.B.'s,
The Mojo Men,
Depeche Mode,
Sun Ra Arkestra,
The Fortunes,
Joy Division,
The Dave Clark Five,
Erasure,
Peter and Kerry,
Eve St. Jones,
Masters at Work,
Darondo,
Gabor Szabo,
Glambeats Corp.,
Dual Sessions,
Steve Hackett,
Eric Copeland,
Monolake,
Don Cherry,
Minnie Riperton,
Pagans,
Ituana,
Janne Schatter,
John Coltrane,
Captain Beefheart & His Magic Band,
Youth Brigade,
Radiopuhelimet,
Fort Wilson Riot,
Eden Ahbez,
Quando Quango,
The Buckinghams,
The Sisters of Mercy,
Icehouse,
Maleditus Sound,
Deakin,
Susan Cadogan,
Lungfish,
Ultra Naté,
The Associates,
Grandmaster Flash and the Furious Five,
Aloha Tigers,
DJ Style,
Danielle Patucci,
The Angels of Light,
Mark Hollis,
Matthew Bourne,
The Star Department,
The New Christs,
Cheater Slicks,
Todd Terry,
Arab on Radar,
The Music Machine,
Ultramagnetic MC's,
Japan, Japan, Japan, Japan.
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.