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 Kazakhstan and from Johannesburg.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1977.
I'm losing my edge.
To all the kids in Delhi and Mexico City.
I'm losing my edge to the art-school Calgary 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 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 Liaisons Dangereuses to the funk 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 the Swans. All the underground hits.
All Talk Talk tracks. I heard you have a vinyl of every L. Decosne record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a 808 and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Leonard Cohen record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
10cc,
The Gap Band,
The Gun Club,
These Immortal Souls,
Hot Snakes,
Ultimate Spinach,
Accadde A,
Babytalk,
Eve St. Jones,
Ash Ra Tempel,
Kenny Larkin,
Bauhaus,
The Moleskins,
The Gladiators,
Adolescents,
The Remains,
Spoonie Gee,
The Invisible,
Man Eating Sloth,
Avey Tare,
Model 500,
Faust,
Soul Sonic Force,
Sonic Youth,
Kevin Saunderson,
Sly & The Family Stone,
Joyce Sims,
Pere Ubu,
The Chocolate Watch Band,
The Residents,
James White and The Blacks,
The Grass Roots,
Pantaleimon,
Avey Tare & Kría Brekkan,
Louis and Bebe Barron,
Barbara Tucker,
Althea and Donna,
Arthur Verocai,
Nirvana,
Nick Fraelich,
Public Image Ltd.,
Blancmange,
Big Daddy Kane,
Roy Ayers Ubiquity,
Zero Boys,
Can,
the Association,
The Young Rascals,
Juan Atkins,
The Royal Family And The Poor,
Country Teasers,
Joe Smooth,
Terrestrial Tones,
The Busters,
Parry Music,
Drive Like Jehu,
Traffic Nightmare,
Circle Jerks,
PIL,
Prince Buster,
Black Sheep,
Rosa Yemen,
Cluster, Cluster, Cluster, Cluster.
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.