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 Lithuania and from Milan.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1976.
I'm losing my edge.
To all the kids in Seoul and Taipei.
I'm losing my edge to the art-school London 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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the rhodes sounds with much patience.
I was there when Tom Verlaine 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 Deutsch Amerikanische Freundschaft to the techno 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 Bobby Sherman. All the underground hits.
All Janne Schatter tracks. I heard you have a vinyl of every The Standells 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 '90s.
I hear you're buying a synthesizer and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Flash Fearless record.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Louis and Bebe Barron,
Matthew Halsall,
Peter Gordon & Love of Life Orchestra,
Lou Reed,
DeepChord presents Echospace,
Pantytec,
The Dead C,
Boz Scaggs,
Pole,
The Barracudas,
Rapeman,
Hot Snakes,
Dennis Brown,
Gary Puckett & The Union Gap,
Brass Construction,
The Mojo Men,
Rufus Thomas,
Nas,
Sun Ra Arkestra,
Joe Finger,
David McCallum,
Joyce Sims,
Nico,
Cabaret Voltaire,
The Alarm Clocks,
Ronan,
John Coltrane,
The Divine Comedy,
Half Japanese,
Erasure,
Ultra Naté,
Tropical Tobacco,
The Knickerbockers,
Theoretical Girls,
Radiohead,
Jimmy McGriff,
Ossler,
Fatback Band,
Section 25,
ABC,
Second Layer,
Big Daddy Kane,
Electric Light Orchestra,
Robert Hood,
Jacob Miller,
Thee Headcoats,
Silicon Teens,
World's Most,
Cecil Taylor,
Altered Images,
Jerry's Kids,
Easy Going,
MDC,
Grey Daturas,
Motorama,
Rhythim Is Rhythim,
10cc,
Eyeless In Gaza,
Essential Logic,
Sly & The Family Stone,
The Busters, The Busters, The Busters, The Busters.
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.