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 Saudi Arabia and from Spokane.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Lyon and Portland.
I'm losing my edge to the art-school Philadelphia 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 organ sounds with much patience.
I was there when Captain Beefheart 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 Eurythmics to the electroclash kids.
I played it at the Spitz.
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 Ultimate Spinach. All the underground hits.
All Harry Pussy tracks. I heard you have a vinyl of every Minny Pops 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 '70s.
I hear you're buying a clarinet and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Echospace record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jeff Lynne,
Black Pus,
Das Ding,
The Remains,
The Tremeloes,
Monks,
Altered Images,
Gian Franco Pienzio,
Minor Threat,
Bobby Hutcherson,
Sam Rivers,
Kool G Rap & DJ Polo,
Magazine,
Moebius,
Johnny Osbourne,
Frankie Knuckles,
Dr. Dre and Snoop Doggy Dog,
Bobby Womack,
Bill Near,
Arthur Verocai,
Susan Cadogan,
Clear Light,
The Star Department,
Eurythmics,
Slave,
Roxy Music,
Marine Girls,
Radiopuhelimet,
Duran Duran,
Sugar Minott,
Red Lorry Yellow Lorry,
Piero Umiliani,
The Chocolate Watch Band,
Delta 5,
Pylon,
Ronnie Foster,
Cybotron,
Sound Behaviour,
the Association,
Dual Sessions,
Hashim,
Sister Nancy,
H. Thieme,
Teenage Jesus and the Jerks,
Simply Red,
Joyce Sims,
FM Einheit,
Sandy B,
Flash Fearless,
Siglo XX,
Man Eating Sloth,
Visage,
Joe Finger,
Scott Walker,
Scion,
B.T. Express,
The Moody Blues,
Schoolly D,
David Axelrod,
Japan,
Angry Samoans,
The Fortunes,
Minutemen, Minutemen, Minutemen, Minutemen.
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.