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 Korea South and from Columbus.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 Spokane and Glasgow.
I'm losing my edge to the art-school Manchester 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 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 Magazine to the funk kids.
I played it at the Troubador.
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 Marc Almond. All the underground hits.
All Mary Jane Girls tracks. I heard you have a vinyl of every Orchestral Manoeuvres in the Dark record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a sitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Yaz record.
I hear that you and your band have sold your clarinet and bought a sitar.
I hear that you and your band have sold your sitar and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Graham Central Station,
Ken Boothe,
Sparks,
Tubeway Army,
Intrusion,
Motorama,
The Chocolate Watch Band,
Clear Light,
Nation of Ulysses,
Newcleus,
Glambeats Corp.,
Delon & Dalcan,
Susan Cadogan,
The Kinks,
Erasure,
James Chance & The Contortions,
The Electric Prunes,
Siglo XX,
Erykah Badu,
Cecil Taylor,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Fugazi,
Todd Rundgren,
The Gun Club,
Grandmaster Flash and the Furious Five,
Aaron Thompson,
Camouflage,
H. Thieme,
The American Breed,
Silicon Teens,
E-Dancer,
the Swans,
Matthew Bourne,
Kenny Larkin,
Harpers Bizarre,
Bang on a Can All-Stars,
Funky Four + One,
John Holt,
DJ Style,
Barrington Levy,
Deutsch Amerikanische Freundschaft,
Q and Not U,
Hoover,
The Pretty Things,
the Normal,
Gil Scott Heron,
Gil Scott-Heron & Brian Jackson,
Cheater Slicks,
Sam Rivers,
Vladislav Delay,
Black Sheep,
Roy Ayers Ubiquity,
Sun City Girls,
Roger Hodgson,
Fela Kuti,
The Grass Roots,
Accadde A,
Moby Grape,
Todd Terry,
Traffic Nightmare,
Severed Heads,
Japan, Japan, Japan, Japan.
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.