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 France and from Beijing.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Tehran and Mexico City.
I'm losing my edge to the art-school Portland 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 Can to the techno kids.
I played it at the Spitz.
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 Al Stewart. All the underground hits.
All Lou Christie tracks. I heard you have a vinyl of every Anthony Braxton record on German import.
I heard that you have a white label of every seminal punk 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 an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Kerrie Biddell 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?
Suburban Knight,
Maurizio,
Toni Rubio,
The Smoke,
Jerry's Kids,
FM Einheit,
Von Mondo,
The Jesus and Mary Chain,
Be Bop Deluxe,
Johnny Osbourne,
Essential Logic,
the Soft Cell,
Barclay James Harvest,
Morten Harket,
The Alarm Clocks,
Pussy Galore,
The Velvet Underground,
The Slits,
Marine Girls,
The Modern Lovers,
Television,
Malaria!,
MDC,
Black Bananas,
Cameo,
Tom Boy,
Lou Christie,
The Golliwogs,
Neil Young,
The Music Machine,
The Detroit Cobras,
Kurtis Blow,
Jacob Miller,
The Mojo Men,
The Men They Couldn't Hang,
London Community Gospel Choir,
Nation of Ulysses,
Flipper,
The Fall,
Infiniti,
Kool G Rap & DJ Polo,
Gian Franco Pienzio,
Loose Ends,
Porter Ricks,
Ajijia Myrayebe,
Kayak,
Derrick Morgan,
The Pretty Things,
Letta Mbulu,
JFA,
Richard Hell and the Voidoids,
Main Source,
Grey Daturas,
The Invisible,
The Leaves,
Tommy Roe,
Peter and Kerry,
Flash Fearless,
Terrestrial Tones,
Sällskapet,
Rapeman,
Amazonics,
The Kinks, The Kinks, The Kinks, The Kinks.
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.