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 Ivory Coast and from Bremen.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Beijing and Edmonton.
I'm losing my edge to the art-school Madrid 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 organ 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 Pierre Henry to the punk kids.
I played it at the Roxy.
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 Masters at Work. All the underground hits.
All John Lydon tracks. I heard you have a vinyl of every Rufus Thomas 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 '70s cut and another box set from the '80s.
I hear you're buying a clarinet and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Siouxsie and the Banshees record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Goldenarms,
Arab on Radar,
Notorious Big And Bone Thugs,
Bizarre Inc.,
Joyce Sims,
Anakelly,
Little Man,
Davy DMX,
Simply Red,
Dead Boys,
Terror Squad Feat. Camron,
Steve Hackett,
The Doobie Brothers,
Ponytail,
Stetsasonic,
Gang of Four,
The Invisible,
Crooked Eye,
Patti Smith,
The Techniques,
Interpol,
Scratch Acid,
Marvin Gaye,
Masters at Work,
Rahsaan Roland Kirk,
Banda Bassotti,
Curtis Mayfield,
Neu!,
Underground Resistance,
London Community Gospel Choir,
The Gladiators,
The Monochrome Set,
Rites of Spring,
UT,
Sun Ra Arkestra,
Gian Franco Pienzio,
Darondo,
Selector Dub Narcotic,
Judy Mowatt,
MDC,
Ronnie Foster,
The Evens,
Gichy Dan,
Camron Feat. Memphis Bleek And Beenie Seigel,
Eden Ahbez,
Flipper,
Kas Product,
Roger Hodgson,
Camron Feat. Jay Z And Juelz,
Cybotron,
Silicon Teens,
The Barracudas,
Traffic Nightmare,
Boz Scaggs,
Delon & Dalcan,
Newcleus,
One Last Wish,
The Fuzztones,
The Buckinghams,
Juan Atkins,
Moby Grape,
Brand Nubian,
Panda Bear,
The New Christs,
Kings Of Tomorrow, Kings Of Tomorrow, Kings Of Tomorrow, Kings Of Tomorrow.
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.