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 Tuvalu and from Philadelphia.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 Glasgow and Lyon.
I'm losing my edge to the art-school Lagos 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 spring reverb 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 The Mummies to the punk kids.
I played it at the 40 Watt.
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 Michelle Simonal. All the underground hits.
All Zapp tracks. I heard you have a vinyl of every Fad Gadget 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 '80s cut and another box set from the '90s.
I hear you're buying a 808 and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Sound Behaviour record.
I hear that you and your band have sold your marimba and bought an oboe.
I hear that you and your band have sold your oboe and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kurtis Blow,
Index,
The Detroit Cobras,
Leonard Cohen,
Excepter,
The Smoke,
Ronnie Foster,
Bill Wells,
Accadde A,
Stereo Dub,
Red Lorry Yellow Lorry,
Ajijia Myrayebe,
Fela Kuti,
The New Christs,
FM Einheit,
The Monochrome Set,
Heavy D & The Boyz,
Thinking Fellers Union Local 282,
Reagan Youth,
Peter Gordon & Love of Life Orchestra,
The Divine Comedy,
The Pop Group,
Subhumans,
Scientists,
Jesper Dahlbäck,
Joensuu 1685,
Sparks,
The Buckinghams,
The West Coast Pop Art Experimental Band,
Sun City Girls,
The Electric Prunes,
Bluetip,
Ohio Players,
Roxy Music,
Piero Umiliani,
Stetsasonic,
Depeche Mode,
The Victims,
Severed Heads,
The Men They Couldn't Hang,
Lou Reed,
Marvin Gaye,
Lou Christie,
Goldenarms,
Sam Rivers,
Marc Almond,
Matthew Bourne,
Los Fastidios,
Sandy B,
These Immortal Souls,
The Gun Club,
Underground Resistance,
Lizzy Mercier Descloux,
The Seeds,
Al Stewart,
Vainqueur,
Radiopuhelimet,
Ash Ra Tempel,
Pierre Henry,
Juan Atkins, Juan Atkins, Juan Atkins, Juan Atkins.
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.