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 Sierra Leone and from Winnipeg.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1978.
I'm losing my edge.
To all the kids in Columbus and Stockholm.
I'm losing my edge to the art-school Toronto 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the synthesizer sounds with much patience.
I was there when Donald Fagen 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 T. Rex to the grunge 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 Nirvana. All the underground hits.
All The Modern Lovers tracks. I heard you have a vinyl of every Gabor Szabo record on German import.
I heard that you have a white label of every seminal rock 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 clarinet and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Average White Band record.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Agitation Free,
Blancmange,
Howard Jones,
Kool G Rap & DJ Polo,
Whodini,
Bill Near,
Oneida,
The Seeds,
Visage,
Morten Harket,
Half Japanese,
The Gladiators,
Sparks,
X-101,
The Star Department,
Gabor Szabo,
Eve St. Jones,
Notorious Big And Bone Thugs,
Icehouse,
Matthew Bourne,
The Offenders,
Wally Richardson,
Josef K,
Bush Tetras,
Malaria!,
Pantytec,
Lalo Schifrin,
Can,
Nik Kershaw,
Beasts of Bourbon,
The Five Americans,
Flash Fearless,
Andrew Ashong & Theo Parrish,
Connie Case,
Pet Shop Boys,
B.T. Express,
Motorama,
Ultravox,
Mantronix,
Bang On A Can,
Joe Smooth,
Neu!,
Bobby Hutcherson,
Brand Nubian,
Matthew Halsall,
Lebanon Hanover,
The Alarm Clocks,
Slick Rick,
Kevin Saunderson,
Nico,
Bang on a Can All-Stars,
The Slackers,
New York Dolls,
Deutsch Amerikanische Freundschaft,
Qualms,
The Blues Magoos,
cv313,
Roy Ayers,
Dorothy Ashby,
Pole,
Frankie Knuckles, Frankie Knuckles, Frankie Knuckles, Frankie Knuckles.
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.