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 Italy and from Mexico City.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 Copenhagen and Halifax.
I'm losing my edge to the art-school Edmonton 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 1978 at the first Visage practice in a loft in London.
I was working on the clarinet 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 a-ha to the electroclash 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 Ken Boothe. All the underground hits.
All The Leaves tracks. I heard you have a vinyl of every The Velvet Underground 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 '50s cut and another box set from the '70s.
I hear you're buying a clarinet and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Animal Collective 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?
David Axelrod,
James Chance & The Contortions,
China Crisis,
Fifty Foot Hose,
48th St. Collective,
Technova,
Organ,
The Detroit Cobras,
Strawberry Alarm Clock,
Don Cherry,
Brick,
The Count Five,
Can,
Bauhaus,
Sonic Youth,
Mad Mike,
Average White Band,
The Gories,
Deutsch Amerikanische Freundschaft,
Skarface,
R.M.O.,
Deadbeat,
Red Lorry Yellow Lorry,
Albert Ayler,
Clear Light,
Röyhkä ja Rättö ja Lehtisalo,
Leonard Cohen,
Boogie Down Productions,
Eric Copeland,
Rapeman,
Infiniti,
David McCallum,
Sam Rivers,
Dawn Penn,
10cc,
Oneida,
Kurtis Blow,
Pharaoh Sanders and the Fire Engines,
Procol Harum,
T. Rex,
Kaleidoscope,
Jacques Brel,
Fela Kuti,
Roy Ayers Ubiquity,
Q65,
Public Image Ltd.,
Nation of Ulysses,
Roxette,
Aaron Thompson,
Bobbi Humphrey,
Bobby Sherman,
Delta 5,
Dave Gahan,
Terrestrial Tones,
Camron Feat. Jay Z And Juelz,
Dark Day,
JFA,
Girls At Our Best!,
Brand Nubian,
This Heat,
Sällskapet,
Hardrive,
Johnny Osbourne,
A Flock of Seagulls, A Flock of Seagulls, A Flock of Seagulls, A Flock of Seagulls.
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.