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 Qatar and from Calgary.
But I was there.
I was there in 1976.
I was there at the first Chic 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 1969 to 1973.
I'm losing my edge.
To all the kids in Spokane and Madrid.
I'm losing my edge to the art-school Manila 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 theremin 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 Gichy Dan to the dance kids.
I played it at Cafe Wha.
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 La Düsseldorf. All the underground hits.
All The Flesh Eaters tracks. I heard you have a vinyl of every Aaron Thompson record on German import.
I heard that you have a white label of every seminal dance 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 an arpeggiator and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Graham Central Station record.
I hear that you and your band have sold your linndrum and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Moon,
Model 500,
The Gladiators,
Manfred Mann's Earth Band,
EPMD,
Scratch Acid,
Bad Manners,
Arab on Radar,
Qualms,
Eve St. Jones,
Aaron Thompson,
Lightning Bolt,
Glenn Branca,
Yaz,
Gichy Dan,
Saccharine Trust,
Reuben Wilson,
Rotary Connection,
The Standells,
Larry & the Blue Notes,
The Dirtbombs,
KRS-One,
Talk Talk,
Rosa Yemen,
The Cure,
Duran Duran,
Ultra Naté,
The Chocolate Watch Band,
Aloha Tigers,
Slave,
Cabaret Voltaire,
Infiniti,
The Doors,
The Saints,
Sexual Harrassment,
Tears for Fears,
The Offenders,
U.S. Maple,
Metal Thangz,
Junior Murvin,
Alice Coltrane,
Jeff Mills,
Minny Pops,
Au Pairs,
Pharaoh Sanders and the Fire Engines,
Maurizio,
Harry Pussy,
Donny Hathaway,
Pere Ubu,
Visage,
Electric Prunes,
Monks,
The Smoke,
Ponytail,
Reagan Youth,
H. Thieme,
Ronan,
World's Most,
Henry Cow,
Pagans,
Goldenarms,
Gang of Four,
This Heat, This Heat, This Heat, This Heat.
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.