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 Jamaica and from Tehran.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1978.
I'm losing my edge.
To all the kids in Manila and Mumbai.
I'm losing my edge to the art-school Bremen 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 1973 at the first Television practice in a loft in New York.
I was working on the sitar sounds with much patience.
I was there when Captain Beefheart 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 The New Christs to the electroclash kids.
I played it at the Hacienda.
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 Glambeats Corp.. All the underground hits.
All New Age Steppers tracks. I heard you have a vinyl of every The Music Machine record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a rhodes and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Durutti Column record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Public Enemy,
Sunsets and Hearts,
World's Most,
Quando Quango,
Desert Stars,
Judy Mowatt,
The Dave Clark Five,
Qualms,
The Gories,
Teenage Jesus and the Jerks,
The Walker Brothers,
Jacob Miller,
Larry & the Blue Notes,
Jeru the Damaja,
New York Dolls,
Saccharine Trust,
Fugazi,
Khruangbin,
Joensuu 1685,
John Holt,
Ohio Players,
Pagans,
The Wake,
Nas,
Bizarre Inc.,
The Saints,
Black Pus,
Delta 5,
Infiniti,
Steve Hackett,
Symarip,
Parry Music,
Radio Birdman,
Harmonia,
Mandrill,
The Dead C,
The Barracudas,
Nick Fraelich,
Sad Lovers and Giants,
Toni Rubio,
Wally Richardson,
The Electric Prunes,
Technova,
Fela Kuti,
Electric Prunes,
Cal Tjader,
Porter Ricks,
EPMD,
Kenny Larkin,
Clear Light,
Jerry Gold Smith,
The Associates,
Black Moon,
Mars,
The New Christs,
U.S. Maple,
The Trojans,
Prince Buster,
PIL,
Guru Guru,
Model 500, Model 500, Model 500, Model 500.
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.