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 Cyprus and from Bremen.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Madrid and Beijing.
I'm losing my edge to the art-school Delhi 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 Holger Czukay 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 Country Joe & The Fish to the grime 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 The Happenings. All the underground hits.
All Arcadia tracks. I heard you have a vinyl of every Adolescents 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 '70s cut and another box set from the '90s.
I hear you're buying an organ and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Andrew Hill record.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Index,
Sparks,
Ash Ra Tempel,
Todd Terry,
Con Funk Shun,
Television Personalities,
Godley & Creme,
Marshall Jefferson,
Public Enemy,
Man Parrish,
David Axelrod,
Joe Finger,
Stockholm Monsters,
The Doors,
DJ Sneak,
The Barracudas,
Gil Scott Heron,
a-ha,
Newcleus,
Roxette,
Ultra Naté,
Young Marble Giants,
Blake Baxter,
Ornette Coleman,
Jesper Dahlback,
the Fania All-Stars,
The Cosmic Jokers,
Visage,
Sex Pistols,
Dead Boys,
Tom Boy,
Nation of Ulysses,
The Gories,
The Saints,
Hoover,
Crooked Eye,
the Soft Cell,
Piero Umiliani,
Toni Rubio,
The Kinks,
Public Image Ltd.,
Bang On A Can,
The Residents,
Morten Harket,
Reagan Youth,
Massinfluence,
The Modern Lovers,
Swell Maps,
June Days,
Pantaleimon,
Ajijia Myrayebe,
Unwound,
Roger Hodgson,
Blossom Toes,
The Real Kids,
The Trojans,
Lizzy Mercier Descloux,
Agent Orange,
Andrew Ashong & Theo Parrish,
Notorious Big And Bone Thugs,
Masters at Work, Masters at Work, Masters at Work, Masters at Work.
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.