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 Mongolia and from Madrid.
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 1970.
I'm losing my edge.
To all the kids in London and Milan.
I'm losing my edge to the art-school Bologna 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 Art of Noise practice in a loft in London.
I was working on the theremin sounds with much patience.
I was there when Michael McDonald 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 Ultimate Spinach to the crunk 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 Terry Callier. All the underground hits.
All Silicon Teens tracks. I heard you have a vinyl of every Grey Daturas record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a chamberlin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Pere Ubu record.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Visage,
The Young Rascals,
Lou Reed & Metallica,
Marmalade,
Pete Rock & C.L. Smooth,
Main Source,
Beasts of Bourbon,
Wighnomy Brothers & Robag Wruhme,
Ronan,
David McCallum,
Minutemen,
Gil Scott Heron,
Avey Tare's Slasher Flicks,
Nick Fraelich,
Talk Talk,
Sight & Sound,
The Mummies,
Qualms,
Maurizio,
Aloha Tigers,
The Buckinghams,
Scott Walker,
MDC,
Steve Hackett,
Gang Gang Dance,
Traffic Nightmare,
Nirvana,
Urselle,
Gary Puckett & The Union Gap,
The Gories,
Reagan Youth,
Blossom Toes,
Skarface,
Glambeats Corp.,
Roxette,
Roy Ayers Ubiquity,
Jimmy McGriff,
Masters at Work,
DJ Sneak,
Camron Feat. Memphis Bleek And Beenie Seigel,
Rowland S Howard / Lydia Lunch,
Graham Central Station,
Sex Pistols,
Howard Jones,
Harry Pussy,
Skaos,
Cybotron,
The Motions,
Spandau Ballet,
MC5,
Super Lover Cee & Casanova Rud,
Motorama,
Wings,
Thompson Twins,
Sound Behaviour,
Boogie Down Productions,
The Doors,
The Wake,
John Foxx,
Althea and Donna,
Red Lorry Yellow Lorry,
Ossler, Ossler, Ossler, Ossler.
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.