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 Kiribati and from Tokyo.
But I was there.
I was there in 1973.
I was there at the first Television 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 1961 to 1972.
I'm losing my edge.
To all the kids in Seoul and New York.
I'm losing my edge to the art-school Beijing 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 sitar 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 The Cramps to the punk kids.
I played it at the 40 Watt.
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 Gong. All the underground hits.
All Blossom Toes tracks. I heard you have a vinyl of every Tomorrow record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a synthesizer and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Ponytail record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stetsasonic,
David McCallum,
Eddi Front,
The Grass Roots,
Audionom,
Underground Resistance,
Morten Harket,
Sad Lovers and Giants,
The Stooges,
Wings,
The Invisible,
Kurtis Blow,
Japan,
Swans,
Alphaville,
EPMD,
Skarface,
London Community Gospel Choir,
Oneida,
Tom Boy,
the Swans,
Bill Near,
Joe Finger,
Parry Music,
Connie Case,
Depeche Mode,
Mars,
Au Pairs,
The Busters,
The Cowsills,
The Music Machine,
Supertramp,
Visage,
The Dead C,
Black Moon,
Half Japanese,
John Foxx,
Thee Headcoats,
The Index,
Blake Baxter,
Harry Pussy,
Bizarre Inc.,
Liaisons Dangereuses,
the Bar-Kays,
Reagan Youth,
DJ Style,
The West Coast Pop Art Experimental Band,
The Fall,
Pussy Galore,
Danielle Patucci,
The Motions,
Strawberry Alarm Clock,
Nick Cave & The Bad Seeds,
the Soft Cell,
Pierre Henry,
Fatback Band,
Mad Mike,
Peter Gordon & Love of Life Orchestra,
Tropical Tobacco,
David Axelrod,
Rotary Connection,
Soft Cell,
Be Bop Deluxe,
Suicide, Suicide, Suicide, Suicide.
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.