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 Panama and from Calgary.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Sao Paulo and Glasgow.
I'm losing my edge to the art-school Cairo 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 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 Dead Boys to the jazz 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 Dr. Dre and Snoop Doggy Dog. All the underground hits.
All James Chance & The Contortions tracks. I heard you have a vinyl of every Little Man record on German import.
I heard that you have a white label of every seminal rap 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 808 and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Bauhaus record.
I hear that you and your band have sold your clarinet and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Howard Jones,
Crispy Ambulance,
Bizarre Inc.,
Lou Reed & Metallica,
Jesper Dahlbäck,
Pagans,
Grey Daturas,
AZ,
Blancmange,
Franke,
Q65,
Clear Light,
Soulsonic Force,
OOIOO,
Japan,
Bobby Byrd,
Magazine,
The Pop Group,
T. Rex,
Grandmaster Flash and the Furious Five,
Jerry Gold Smith,
Yusef Lateef,
Wire,
Black Sheep,
Inner City,
Drexciya,
The Gap Band,
Aural Exciters,
Gary Puckett & The Union Gap,
Ken Boothe,
Scion,
Rekid,
Kaleidoscope,
The Divine Comedy,
Johnny Osbourne,
Beasts of Bourbon,
Excepter,
Althea and Donna,
Silicon Teens,
Wolf Eyes,
Moby Grape,
Trumans Water,
Jawbox,
Roy Ayers,
Andrew Hill,
Gian Franco Pienzio,
Grandmaster Flash,
June Days,
John Holt,
Visage,
Hot Snakes,
The Leaves,
The Zeros,
The Knickerbockers,
Rotary Connection,
Malaria!,
Section 25,
Swell Maps,
The Chocolate Watch Band,
The Sisters of Mercy,
Al Stewart, Al Stewart, Al Stewart, Al Stewart.
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.