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 Accra.
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 1969 to 1972.
I'm losing my edge.
To all the kids in New York and Lille.
I'm losing my edge to the art-school Columbus 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 1984 at the first Arcadia practice in a loft in London.
I was working on the chamberlin 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 Scott Walker to the crunk kids.
I played it at the Astoria.
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 Youth Brigade. All the underground hits.
All In Retrospect tracks. I heard you have a vinyl of every Public Enemy record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a snare and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The United States of America record.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Supertramp,
Godley & Creme,
Rhythm & Sound,
Pagans,
the Fania All-Stars,
The Star Department,
Wire,
Girls At Our Best!,
Arthur Verocai,
The Misunderstood,
U.S. Maple,
The Five Americans,
Agitation Free,
Pharoah Sanders,
Ash Ra Tempel,
The Offenders,
KRS-One,
The Doors,
Ultravox,
Radio Birdman,
Bush Tetras,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
John Lydon,
The Smoke,
Das Ding,
Alice Coltrane,
Freddie Wadling,
Cybotron,
D'Angelo,
Ituana,
Rod Modell,
Crime,
The Blackbyrds,
Massinfluence,
Porter Ricks,
Drexciya,
the Soft Cell,
Jesper Dahlbäck,
Michelle Simonal,
Mars,
Sex Pistols,
Country Joe & The Fish,
Fort Wilson Riot,
Mantronix,
Erasure,
Lee Hazlewood,
R.M.O.,
Liaisons Dangereuses,
Gian Franco Pienzio,
Yaz,
Camberwell Now,
Neu!,
Y Pants,
Subhumans,
Harmonia,
Zapp,
Pulsallama,
Youth Brigade,
The Sound,
Scion,
Ralphi Rosario,
Nils Olav,
Negative Approach, Negative Approach, Negative Approach, Negative Approach.
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.