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 Vietnam 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 1975.
I'm losing my edge.
To all the kids in Woodstock and Columbus.
I'm losing my edge to the art-school Beijing 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 synthesizer 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 The Electric Prunes to the rap 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 La Düsseldorf. All the underground hits.
All The Litter tracks. I heard you have a vinyl of every Lou Reed & John Cale record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a guitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Hardrive record.
I hear that you and your band have sold your theremin and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Brass Construction,
Crime,
Adolescents,
Sandy B,
The Motions,
David McCallum,
Brothers Johnson,
DJ Style,
Art Ensemble Of Chicago,
Janne Schatter,
Pharaoh Sanders and the Fire Engines,
Joe Finger,
Super Lover Cee & Casanova Rud,
Agitation Free,
Agent Orange,
Gang Green,
Scan 7,
Mission of Burma,
X-Ray Spex,
Tomorrow,
Swell Maps,
Lindisfarne,
The Modern Lovers,
The Chocolate Watch Band,
Beasts of Bourbon,
Arcadia,
Harmonia,
The Cramps,
Lalo Schifrin,
The Fall,
Camouflage,
Orchestral Manoeuvres in the Dark,
The Names,
Ken Boothe,
Dennis Brown,
The Tremeloes,
Los Fastidios,
Dorothy Ashby,
Monks,
Vainqueur,
The Gladiators,
Notorious Big And Bone Thugs,
Todd Rundgren,
James White and The Blacks,
Big Daddy Kane,
Desert Stars,
Pet Shop Boys,
AZ,
Larry & the Blue Notes,
Public Image Ltd.,
Judy Mowatt,
The Gun Club,
Panda Bear,
Heavy D & The Boyz,
Rahsaan Roland Kirk,
Max Romeo,
Sunsets and Hearts,
Groovy Waters,
The Smoke,
Matthew Halsall,
Technova,
Robert Hood, Robert Hood, Robert Hood, Robert Hood.
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.