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 Indonesia and from Manchester.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Toronto and Spokane.
I'm losing my edge to the art-school Salvador 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 rhodes 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 The United States of America to the techno 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 Wings. All the underground hits.
All The Litter tracks. I heard you have a vinyl of every Gang Green 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 a synthesizer and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Eric Dolphy record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Faust,
The Victims,
Camberwell Now,
Richard Hell and the Voidoids,
Lebanon Hanover,
Oblivians,
Eden Ahbez,
Unrelated Segments,
OOIOO,
Moby Grape,
AZ,
Sonny Sharrock,
Vaughan Mason & Crew,
Wolf Eyes,
Dennis Brown,
Theoretical Girls,
Soft Machine,
Cymande,
Scott Walker,
the Slits,
Fear,
Pylon,
Al Stewart,
Nas,
Bobby Hutcherson,
World's Most,
Blancmange,
Wings,
Heavy D & The Boyz,
Bauhaus,
Organ,
Curtis Mayfield,
Banda Bassotti,
Agitation Free,
Carl Craig,
Smog,
Suburban Knight,
London Community Gospel Choir,
Roy Ayers Ubiquity,
Avey Tare & Kría Brekkan,
Girls At Our Best!,
Quantec,
Avey Tare's Slasher Flicks,
10cc,
Derrick May,
The Selecter,
New Age Steppers,
Janne Schatter,
Schoolly D,
Yellowson,
De La Soul & Jungle Brothers,
Khruangbin,
Fatback Band,
The Cramps,
Brothers Johnson,
The Evens,
Zero Boys,
Sugar Minott,
The Offenders,
Delta 5,
Amon Düül II,
Delon & Dalcan,
Royal Trux,
the Human League, the Human League, the Human League, the Human League.
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.