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 Turkmenistan and from Manila.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1971.
I'm losing my edge.
To all the kids in Johannesburg and Taipei.
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 marimba 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 MDC to the funk kids.
I played it at Trash.
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 Slits. All the underground hits.
All Talk Talk tracks. I heard you have a vinyl of every The Neon Judgement 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 '70s cut and another box set from the '90s.
I hear you're buying a chamberlin and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a T. Rex record.
I hear that you and your band have sold your linndrum and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
X-Ray Spex,
Leonard Cohen,
The Names,
Curtis Mayfield,
London Community Gospel Choir,
The Dave Clark Five,
Darondo,
Roy Ayers,
Ituana,
Barbara Tucker,
Nirvana,
Bauhaus,
Pere Ubu,
Dave Gahan,
Shuggie Otis,
The Evens,
the Fania All-Stars,
Matthew Halsall,
The Residents,
T.S.O.L.,
the Human League,
Cluster,
The Raincoats,
10cc,
Fela Kuti,
Oppenheimer Analysis,
Suburban Knight,
D'Angelo,
Mad Mike,
Derrick Morgan,
The Count Five,
Clear Light,
Qualms,
Lalann,
The Seeds,
Al Stewart,
a-ha,
the Association,
Dr. Dre and Snoop Doggy Dog,
Slick Rick,
F. McDonald,
LL Cool J,
The Motions,
The Doobie Brothers,
Yellowson,
The Wake,
The J.B.'s,
Oneida,
Eric Dolphy,
Make Up,
Monks,
June of 44,
Black Sheep,
The Doors,
Teenage Jesus and the Jerks,
Wally Richardson,
Angels of Light & Akron/Family,
Minor Threat,
Bluetip,
Aaron Thompson,
Harmonia,
U.S. Maple,
Country Joe & The Fish,
Stereo Dub,
Nick Fraelich, Nick Fraelich, Nick Fraelich, Nick Fraelich.
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.