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 Nicaragua and from Woodstock.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Sao Paulo and New York.
I'm losing my edge to the art-school Philadelphia 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 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 Ohio Players to the rock 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 Scott Walker. All the underground hits.
All Funkadelic tracks. I heard you have a vinyl of every Arab on Radar record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a synthesizer and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a A Certain Ratio record.
I hear that you and your band have sold your sitar and bought a marimba.
I hear that you and your band have sold your marimba and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Slits,
Brass Construction,
Scion,
Kauko Röyhkä ja Narttu,
Radio Birdman,
This Heat,
Peter Gordon & Love of Life Orchestra,
Byron Stingily,
Marine Girls,
The Monochrome Set,
MC5,
Duran Duran,
The Toasters,
The Fall,
Radiopuhelimet,
Swans,
Girls At Our Best!,
Bush Tetras,
Orchestral Manoeuvres in the Dark,
Ossler,
Notorious Big And Bone Thugs,
James White and The Blacks,
Q65,
Rapeman,
Yaz,
Scott Walker,
L. Decosne,
Ralphi Rosario,
Ten City,
Black Bananas,
Icehouse,
Dual Sessions,
Stiv Bators,
Archie Shepp,
Soft Cell,
10cc,
Young Marble Giants,
Joey Negro,
John Lydon,
Ice-T,
Television,
Avey Tare & Kría Brekkan,
The Royal Family And The Poor,
Bang On A Can,
the Soft Cell,
the Normal,
Bronski Beat,
The Smiths,
The Techniques,
Mission of Burma,
Model 500,
Dark Day,
Arab on Radar,
Sällskapet,
Ash Ra Tempel,
Pantaleimon,
Ultra Naté,
Brick,
The Raincoats,
Rites of Spring,
Gang of Four,
Louis and Bebe Barron, Louis and Bebe Barron, Louis and Bebe Barron, Louis and Bebe Barron.
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.