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 Burkina and from Glasgow.
But I was there.
I was there in 1978.
I was there at the first Visage 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 Glasgow and Beijing.
I'm losing my edge to the art-school Portland 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 synthesizer sounds with much patience.
I was there when Robert Palmer 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 Dave Gahan to the punk 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 Sad Lovers and Giants. All the underground hits.
All Ohio Players tracks. I heard you have a vinyl of every Major Organ And The Adding Machine 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 '70s.
I hear you're buying a harpsichord and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Loose Ends record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lindisfarne,
The Sisters of Mercy,
Tom Boy,
Half Japanese,
DeepChord presents Echospace,
Rufus Thomas,
Pussy Galore,
Graham Central Station,
Tubeway Army,
Peter & Gordon,
Model 500,
Albert Ayler,
The J.B.'s,
The Smoke,
Amon Düül II,
Nils Olav,
Fluxion,
Grauzone,
The Fugs,
Gang Starr,
The Young Rascals,
Bill Near,
Curtis Mayfield,
The Music Machine,
Hoover,
Country Joe & The Fish,
The Doors,
The Beau Brummels,
The Knickerbockers,
Arab on Radar,
Janne Schatter,
The Flesh Eaters,
8 Eyed Spy,
Gang Green,
The Modern Lovers,
The Motions,
Joe Smooth,
Section 25,
Inner City,
Heavy D & The Boyz,
Alice Coltrane,
Gil Scott-Heron & Brian Jackson,
Laurel Aitken,
Gong,
Hashim,
Warsaw,
Susan Cadogan,
Aswad,
Donny Hathaway,
Throbbing Gristle,
Camron Feat. Jay Z And Juelz,
Fat Boys,
Hot Snakes,
June of 44,
The Birthday Party,
Simply Red,
Blake Baxter,
The Searchers,
Massinfluence,
Brick,
Eden Ahbez, Eden Ahbez, Eden Ahbez, Eden Ahbez.
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.