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 Grenada and from Seoul.
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 1973.
I'm losing my edge.
To all the kids in Houston and Shanghai.
I'm losing my edge to the art-school Bremen 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the synthesizer sounds with much patience.
I was there when Tom Verlaine 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 grunge kids.
I played it at the Troubador.
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 Robert Hood. All the underground hits.
All Reuben Wilson tracks. I heard you have a vinyl of every Stetsasonic record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a harpsichord and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Little Man record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Television Personalities,
E-Dancer,
MDC,
10cc,
T. Rex,
Peter and Kerry,
The Gap Band,
Crime,
Alison Limerick,
Whodini,
Babytalk,
The Move,
R.M.O.,
The Pretty Things,
Eyeless In Gaza,
De La Soul & Jungle Brothers,
Accadde A,
Marmalade,
Röyhkä ja Rättö ja Lehtisalo,
June Days,
Barrington Levy,
the Germs,
Drexciya,
Freddie Wadling,
Faraquet,
Oppenheimer Analysis,
Kaleidoscope,
Nico,
Cymande,
Dennis Brown,
New Order,
Dorothy Ashby,
The Wake,
Wire,
Japan,
Livin' Joy,
Desert Stars,
Severed Heads,
Boogie Down Productions,
The Human League,
Althea and Donna,
Underground Resistance,
Pantaleimon,
the Fania All-Stars,
Anthony Braxton,
Jacques Brel,
Kevin Saunderson,
The Alarm Clocks,
Minnie Riperton,
Peter & Gordon,
Grandmaster Flash and the Furious Five,
X-101,
Adolescents,
Newcleus,
Laurel Aitken,
B.T. Express,
Deepchord,
Pantytec,
Stiv Bators,
Matthew Halsall,
Johnny Clarke, Johnny Clarke, Johnny Clarke, Johnny Clarke.
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.