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 Bosnia Herzegovina and from Spokane.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1965 to 1971.
I'm losing my edge.
To all the kids in Copenhagen and Madrid.
I'm losing my edge to the art-school Mexico City 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 808 sounds with much patience.
I was there when Michael McDonald 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 Andrew Ashong & Theo Parrish to the electroclash 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 Byron Stingily. All the underground hits.
All Gerry Rafferty tracks. I heard you have a vinyl of every Eddi Front record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an organ and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Seeds record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gerry Rafferty,
Nirvana,
Strawberry Alarm Clock,
Sight & Sound,
Stockholm Monsters,
Connie Case,
Liaisons Dangereuses,
R.M.O.,
Absolute Body Control,
MC5,
Derrick Morgan,
Adolescents,
Brass Construction,
Ash Ra Tempel,
Lebanon Hanover,
Lalann,
The Monochrome Set,
The Martian,
Model 500,
Rekid,
Juan Atkins,
DNA,
Y Pants,
Mars,
JFA,
Jimmy McGriff,
Country Joe & The Fish,
DJ Style,
The Neon Judgement,
kango's stein massive,
Gang Starr,
Flamin' Groovies,
James Chance & The Contortions,
Pantytec,
Thompson Twins,
Sparks,
Chris & Cosey,
Con Funk Shun,
L. Decosne,
Jacob Miller,
The Sonics,
The Moody Blues,
The Black Dice,
The Velvet Underground,
Pet Shop Boys,
Monolake,
Bobby Byrd,
Qualms,
Harry Pussy,
Robert Wyatt,
Scratch Acid,
Curtis Mayfield,
Ajijia Myrayebe,
Scan 7,
Can,
Sad Lovers and Giants,
Graham Central Station,
Morten Harket,
Organ,
Loose Ends,
Piero Umiliani,
Dawn Penn,
Dennis Brown, Dennis Brown, Dennis Brown, Dennis Brown.
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.