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 Congo and from Milan.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Mumbai and Salvador.
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 mellotron 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 The West Coast Pop Art Experimental Band to the punk kids.
I played it at CBGB's.
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 Yazoo. All the underground hits.
All Marine Girls tracks. I heard you have a vinyl of every Michelle Simonal record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a marimba and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Ultravox record.
I hear that you and your band have sold your organ and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Negative Approach,
Second Layer,
Traffic Nightmare,
Audionom,
Kurtis Blow,
Suicide,
Terry Callier,
Flipper,
Sugar Minott,
Skarface,
Peter & Gordon,
Excepter,
Wolf Eyes,
The Five Americans,
Cameo,
Aswad,
Underground Resistance,
Depeche Mode,
The Martian,
Rosa Yemen,
Sly & The Family Stone,
Vainqueur,
The Barracudas,
Mr. Review,
Wally Richardson,
Deutsch Amerikanische Freundschaft,
Procol Harum,
Little Man,
Black Moon,
Heaven 17,
the Soft Cell,
Andrew Hill,
Cluster,
These Immortal Souls,
Motorama,
New Order,
Delta 5,
Röyhkä ja Rättö ja Lehtisalo,
Brass Construction,
Siouxsie and the Banshees,
Organ,
Bad Manners,
Pulsallama,
Bill Wells,
Neil Young,
Alton Ellis,
Groovy Waters,
Judy Mowatt,
Nas,
Livin' Joy,
Althea and Donna,
H. Thieme,
Jacob Miller,
The Divine Comedy,
Sixth Finger,
Visage,
Tim Buckley,
Drive Like Jehu,
Pet Shop Boys,
Alphaville,
Robert Wyatt,
Sight & Sound, Sight & Sound, Sight & Sound, Sight & Sound.
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.