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 Qatar and from Lagos.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Edmonton and Copenhagen.
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 guitar sounds with much patience.
I was there when Holger Czukay 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 Music Machine to the electroclash 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 Mandrill. All the underground hits.
All Kauko Röyhkä ja Narttu tracks. I heard you have a vinyl of every Altered Images 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 '50s cut and another box set from the '90s.
I hear you're buying a linndrum and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Alison Limerick record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Thompson Twins,
Terry Callier,
Theoretical Girls,
Dead Boys,
Gerry Rafferty,
The Sound,
Minnie Riperton,
Gil Scott Heron,
The Techniques,
Pulsallama,
Oneida,
the Sonics,
Lalo Schifrin,
Silicon Teens,
The Chocolate Watch Band,
The Raincoats,
The Litter,
Lou Reed & John Cale,
Dark Day,
Yellowson,
David Bowie,
The Durutti Column,
Hasil Adkins,
KRS-One,
Simply Red,
Bang On A Can,
Dennis Brown,
Crash Course in Science,
Sly & The Family Stone,
Mars,
Sandy B,
Vaughan Mason & Crew,
Chrome,
The United States of America,
The Toasters,
the Slits,
Babytalk,
Hashim,
Mandrill,
Tubeway Army,
E-Dancer,
Janne Schatter,
Amon Düül,
John Coltrane,
U.S. Maple,
Agitation Free,
Man Parrish,
Funkadelic,
Kool Moe Dee,
Loose Ends,
Laurel Aitken,
Mark Hollis,
Hot Snakes,
The Walker Brothers,
Goldenarms,
Qualms,
The Mighty Diamonds,
Japan,
the Bar-Kays,
Johnny Osbourne,
Eli Mardock,
The Barracudas,
Gian Franco Pienzio,
Harmonia,
Darondo, Darondo, Darondo, Darondo.
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.