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 Russia and from Sao Paulo.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1968 to 1979.
I'm losing my edge.
To all the kids in Stockholm and Hong Kong.
I'm losing my edge to the art-school New York 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 oboe 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 Ken Boothe to the grime kids.
I played it at Cafe Wha.
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 Interpol. All the underground hits.
All Accadde A tracks. I heard you have a vinyl of every Lou Reed & Metallica record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a güiro and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a KRS-One record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sound Behaviour,
Alice Coltrane,
Popol Vuh,
Susan Cadogan,
Rowland S Howard / Lydia Lunch,
The Chocolate Watch Band,
The Misunderstood,
Cal Tjader,
Ralphi Rosario,
Cluster,
The Motions,
Roxy Music,
Lalann,
T.S.O.L.,
The Litter,
The Cramps,
Marmalade,
Monolake,
Donny Hathaway,
Darondo,
Swell Maps,
Shuggie Otis,
The Vogues,
The West Coast Pop Art Experimental Band,
U.S. Maple,
ABBA,
Magazine,
In Retrospect,
Nils Olav,
Negative Approach,
Faust,
Tears for Fears,
Reagan Youth,
The Mummies,
Altered Images,
Deutsch Amerikanische Freundschaft,
Soul Sonic Force,
Patti Smith,
L. Decosne,
Girls At Our Best!,
The Move,
Vaughan Mason & Crew,
Mantronix,
Vladislav Delay,
Art Ensemble Of Chicago,
Yellowson,
Wolf Eyes,
the Association,
The Moleskins,
The Neon Judgement,
Malaria!,
Magma,
Subhumans,
Tom Boy,
Notorious BIG live in Amsterdam,
Barbara Tucker,
David Axelrod,
Warsaw,
Average White Band,
The Grass Roots,
Pussy Galore,
Ken Boothe,
Janne Schatter, Janne Schatter, Janne Schatter, Janne Schatter.
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.