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 Uruguay and from Milan.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 Tokyo and Johannesburg.
I'm losing my edge to the art-school Milan 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 synthesizer sounds with much patience.
I was there when Tom Verlaine 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 Invisible to the rap kids.
I played it at the Troubador.
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 Goldenarms. All the underground hits.
All 8 Eyed Spy tracks. I heard you have a vinyl of every Franke 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 '50s cut and another box set from the '70s.
I hear you're buying a synthesizer and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Technova record.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Blancmange,
LL Cool J,
The Wake,
Hoover,
Graham Central Station,
Don Cherry,
The United States of America,
Mark Hollis,
The Index,
World's Most,
Matthew Bourne,
X-102,
Radiohead,
Hot Snakes,
The West Coast Pop Art Experimental Band,
Dual Sessions,
Kauko Röyhkä ja Narttu,
A Flock of Seagulls,
Index,
La Düsseldorf,
Avey Tare,
June of 44,
Japan,
The Beau Brummels,
Wasted Youth,
Bang on a Can All-Stars,
Half Japanese,
Tears for Fears,
Erykah Badu,
Junior Murvin,
Wire,
Gil Scott-Heron and Jamie xx,
Sonic Youth,
Eddi Front,
The Modern Lovers,
Peter Gordon & Love of Life Orchestra,
Oblivians,
Throbbing Gristle,
The Happenings,
Y Pants,
Whodini,
Spandau Ballet,
New York Dolls,
Tim Buckley,
Jesper Dahlbäck,
Harmonia,
Jeff Mills,
Pylon,
The Evens,
Stereo Dub,
The Offenders,
The Techniques,
Oppenheimer Analysis,
Gil Scott Heron,
Icehouse,
Funkadelic,
MDC,
Saccharine Trust,
The Fire Engines,
Liliput,
The New Christs,
One Last Wish,
the Slits,
Amon Düül II, Amon Düül II, Amon Düül II, Amon Düül II.
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.