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 Belgium and from London.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Woodstock and Glasgow.
I'm losing my edge to the art-school Winnipeg 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 808 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 The Tremeloes to the funk kids.
I played it at CBGB's.
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 Gil Scott-Heron & Brian Jackson. All the underground hits.
All OOIOO tracks. I heard you have a vinyl of every Althea and Donna record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a synthesizer and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Steve Hackett record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Essential Logic,
Rahsaan Roland Kirk,
The Doobie Brothers,
Joensuu 1685,
Fela Kuti,
Camouflage,
Nation of Ulysses,
The Detroit Cobras,
Mark Hollis,
Rod Modell,
Interpol,
Wings,
Gil Scott Heron,
Bootsy Collins,
The Golliwogs,
10cc,
The Five Americans,
Charles Mingus,
Sonny Sharrock,
Scion,
The Mummies,
Traffic Nightmare,
The Count Five,
Terry Callier,
Pete Rock & C.L. Smooth,
The Wake,
Pussy Galore,
It's A Beautiful Day,
The Index,
Rhythim Is Rhythim,
The Misunderstood,
Freddie Wadling,
Angry Samoans,
The Seeds,
Unrelated Segments,
Mary Jane Girls,
Ohio Players,
Crispian St. Peters,
Avey Tare's Slasher Flicks,
The Fuzztones,
Glenn Branca,
The Pretty Things,
Echo & the Bunnymen,
Lightning Bolt,
Popol Vuh,
Prince Buster,
Electric Light Orchestra,
Sparks,
Flash Fearless,
Bronski Beat,
John Holt,
Thompson Twins,
Iggy Pop,
Simply Red,
Marc Romboy vs. Booka Shade,
Nas,
Peter and Kerry,
Eddi Front,
Subhumans,
Dead Boys,
Talk Talk,
Outsiders, Outsiders, Outsiders, Outsiders.
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.