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 Rwanda and from Portland.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1970.
I'm losing my edge.
To all the kids in Toronto and Accra.
I'm losing my edge to the art-school Manchester 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 arpeggiator sounds with much patience.
I was there when Donald Fagen 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 Depeche Mode to the techno kids.
I played it at the 40 Watt.
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 Lee Hazlewood. All the underground hits.
All Stetsasonic tracks. I heard you have a vinyl of every Index record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a rhodes and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a In Retrospect record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sun Ra Arkestra,
Art Ensemble Of Chicago,
Zapp,
Arab on Radar,
The Pretty Things,
Bootsy's Rubber Band,
Heaven 17,
Alton Ellis,
Alphaville,
Mo-Dettes,
Ice-T,
Selector Dub Narcotic,
The Black Dice,
D'Angelo,
The Fugs,
Gil Scott-Heron & Brian Jackson,
Rhythim Is Rhythim,
Dead Boys,
Panda Bear,
Lucky Dragons,
The Men They Couldn't Hang,
Fatback Band,
Delta 5,
Orchestral Manoeuvres in the Dark,
The Litter,
The Moleskins,
Franke,
Brass Construction,
Neu!,
Simply Red,
Smog,
Aaron Thompson,
Nation of Ulysses,
Warren Ellis,
Dave Gahan,
Cheater Slicks,
Reagan Youth,
Hasil Adkins,
Organ,
The Gladiators,
Henry Cow,
U.S. Maple,
Siglo XX,
The Human League,
Negative Approach,
Monolake,
The Techniques,
Kerrie Biddell,
The Dirtbombs,
Echo & the Bunnymen,
The Smiths,
Joe Finger,
Beasts of Bourbon,
FM Einheit,
The Barracudas,
Soft Cell,
Man Parrish,
the Swans,
Sister Nancy,
Skriet,
Index,
The Star Department, The Star Department, The Star Department, The Star Department.
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.