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 Costa Rica and from Portland.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1970.
I'm losing my edge.
To all the kids in Sao Paulo and Seoul.
I'm losing my edge to the art-school Shanghai 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 808 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 Nico to the crunk kids.
I played it at the Astoria.
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 Moss Icon. All the underground hits.
All The Victims tracks. I heard you have a vinyl of every Grauzone record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a spring reverb and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Mr. Review record.
I hear that you and your band have sold your oboe and bought a guitar.
I hear that you and your band have sold your guitar and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pulsallama,
Altered Images,
Spoonie Gee,
Kango’s Stein Massive,
Amon Düül II,
Blossom Toes,
Cabaret Voltaire,
These Immortal Souls,
David McCallum,
Boredoms,
John Holt,
Grauzone,
U.S. Maple,
Drive Like Jehu,
X-Ray Spex,
The Doors,
The Alarm Clocks,
Sad Lovers and Giants,
Jimmy McGriff,
Jesper Dahlback,
K-Klass,
Jeff Lynne,
Anthony Braxton,
Chrome,
Aswad,
It's A Beautiful Day,
DNA,
The Motions,
The Fall,
The Offenders,
Derrick Morgan,
Gary Puckett & The Union Gap,
Unwound,
The Standells,
The J.B.'s,
The Searchers,
Cybotron,
La Düsseldorf,
Morten Harket,
Pere Ubu,
X-101,
Simply Red,
Accadde A,
Tears for Fears,
Magazine,
OOIOO,
The Slackers,
Albert Ayler,
Wings,
Minor Threat,
Von Mondo,
Porter Ricks,
John Foxx,
Das Ding,
Swell Maps,
Joey Negro,
The Detroit Cobras,
Rites of Spring,
Oneida,
Matthew Bourne,
Lower 48,
The Men They Couldn't Hang,
Susan Cadogan, Susan Cadogan, Susan Cadogan, Susan Cadogan.
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.