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 Mauritania and from Jakarta.
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 1969 to 1979.
I'm losing my edge.
To all the kids in Johannesburg and Bremen.
I'm losing my edge to the art-school Tehran 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the mellotron 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 Dead Boys to the grime 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 The Divine Comedy. All the underground hits.
All Urselle tracks. I heard you have a vinyl of every Marine Girls record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a synthesizer and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Neon Judgement record.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lindisfarne,
Malaria!,
Absolute Body Control,
Echo & the Bunnymen,
The Index,
The Monochrome Set,
The Birthday Party,
The Invisible,
Leonard Cohen,
The Cramps,
Patti Smith,
Tubeway Army,
The Human League,
Magma,
Talk Talk,
The Stooges,
Ten City,
Nick Fraelich,
Gang of Four,
Stetsasonic,
Sound Behaviour,
John Foxx,
John Coltrane,
Ludus,
Rahsaan Roland Kirk,
Pharaoh Sanders and the Fire Engines,
Jerry's Kids,
Camron Feat. Memphis Bleek And Beenie Seigel,
Ajijia Myrayebe,
Mary Jane Girls,
Sam Rivers,
Darondo,
Brass Construction,
Babytalk,
Avey Tare & Kría Brekkan,
Sad Lovers and Giants,
Moss Icon,
Excepter,
PIL,
Black Sheep,
Roger Hodgson,
Sonny Sharrock,
Sunsets and Hearts,
Hashim,
Jacques Brel,
The Evens,
Terry Callier,
Sly & The Family Stone,
Model 500,
Avey Tare's Slasher Flicks,
Slave,
Cameo,
Bobby Sherman,
Bang on a Can All-Stars,
Sun Ra,
The Flesh Eaters,
Television Personalities,
Average White Band,
Half Japanese,
Graham Central Station,
The Barracudas, The Barracudas, The Barracudas, The Barracudas.
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.