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 Thailand and from Hong Kong.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Delhi and Stockholm.
I'm losing my edge to the art-school Taipei 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 organ 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 Hoover to the punk kids.
I played it at the Spitz.
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 Lafayette Afro Rock Band. All the underground hits.
All Grey Daturas tracks. I heard you have a vinyl of every Dawn Penn 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 '60s cut and another box set from the '80s.
I hear you're buying a mellotron and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Royal Family And The Poor record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Association,
Circle Jerks,
The Evens,
Josef K,
Connie Case,
The Kinks,
Gerry Rafferty,
Ohio Players,
Grandmaster Flash,
Masters at Work,
B.T. Express,
Aaron Thompson,
Soft Machine,
Marshall Jefferson,
Ralphi Rosario,
Dorothy Ashby,
Notorious Big And Bone Thugs,
The Saints,
Amon Düül,
Stereo Dub,
The Men They Couldn't Hang,
Roxette,
L. Decosne,
Gabor Szabo,
Curtis Mayfield,
Ultra Naté,
Oblivians,
Magazine,
The Pop Group,
Agent Orange,
Mars,
Swans,
Röyhkä ja Rättö ja Lehtisalo,
Strawberry Alarm Clock,
Vaughan Mason & Crew,
Urselle,
Dennis Brown,
Quando Quango,
Unrelated Segments,
Minutemen,
Bobby Sherman,
The Shadows of Knight,
Fad Gadget,
Zero Boys,
Andrew Hill,
The Toasters,
The Peanut Butter Conspiracy,
Louis and Bebe Barron,
Rahsaan Roland Kirk,
Ludus,
Blake Baxter,
the Germs,
Kerri Chandler,
Duran Duran,
Sun Ra,
Animal Collective,
Moss Icon,
The Techniques,
Marc Romboy vs. Booka Shade,
Scott Walker + Sunn O))),
Flash Fearless,
Sly & The Family Stone,
Alphaville,
Fluxion,
Stiv Bators, Stiv Bators, Stiv Bators, Stiv Bators.
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.