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 China and from Edmonton.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Lyon and Bremen.
I'm losing my edge to the art-school Philadelphia 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 harpsichord sounds with much patience.
I was there when Lou Reed 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 Alton Ellis to the rock kids.
I played it at Cafe Wha.
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 Angry Samoans. All the underground hits.
All Andrew Hill tracks. I heard you have a vinyl of every Camron Feat. Memphis Bleek And Beenie Seigel record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a clarinet and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Cal Tjader record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Albert Ayler,
Throbbing Gristle,
Wasted Youth,
Porter Ricks,
Barrington Levy,
Von Mondo,
DeepChord presents Echospace,
Eve St. Jones,
Pet Shop Boys,
Stereo Dub,
Gerry Rafferty,
Bootsy Collins,
The Beau Brummels,
Q65,
Idris Muhammad,
Jeff Lynne,
Cal Tjader,
The Slits,
New Age Steppers,
Bronski Beat,
Anakelly,
Tubeway Army,
The Sonics,
Half Japanese,
Boz Scaggs,
The Pop Group,
Sarah Menescal,
Soft Cell,
The Monks,
Vaughan Mason & Crew,
Dorothy Ashby,
The Gap Band,
Ultramagnetic MC's,
The Five Americans,
The Move,
Blancmange,
The Selecter,
Brand Nubian,
The Cosmic Jokers,
Sun Ra,
Swell Maps,
Sex Pistols,
Outsiders,
Echo & the Bunnymen,
Babytalk,
Alison Limerick,
Los Fastidios,
Sound Behaviour,
Sonny Sharrock,
Silicon Teens,
T.S.O.L.,
Deepchord,
Richard Hell and the Voidoids,
Faraquet,
Animal Collective,
The Music Machine,
The Raincoats,
Banda Bassotti,
Lou Reed & John Cale,
Neu!,
Jawbox,
Cluster, Cluster, Cluster, Cluster.
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.