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 Salvador.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1965 to 1975.
I'm losing my edge.
To all the kids in Beijing and Beijing.
I'm losing my edge to the art-school Taipei 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 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 Kerrie Biddell to the jazz 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 The Walker Brothers. All the underground hits.
All Scott Walker tracks. I heard you have a vinyl of every Lindisfarne record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a harpsichord and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Flash Fearless record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gerry Rafferty,
Kauko Röyhkä ja Narttu,
Reagan Youth,
Mandrill,
Lou Christie,
The Dirtbombs,
Susan Cadogan,
Don Cherry,
Con Funk Shun,
The Cowsills,
The Men They Couldn't Hang,
La Düsseldorf,
Cymande,
Pagans,
The Busters,
Nirvana,
Echospace,
Alphaville,
Dave Gahan,
Masters at Work,
These Immortal Souls,
Grauzone,
Lee Hazlewood,
Scott Walker,
Adolescents,
Red Lorry Yellow Lorry,
Robert Wyatt,
Y Pants,
Radio Birdman,
Funkadelic,
Roy Ayers Ubiquity,
Minutemen,
Ossler,
Danielle Patucci,
Fort Wilson Riot,
Cluster,
the Soft Cell,
The Remains,
New Age Steppers,
Lower 48,
Spoonie Gee,
Cabaret Voltaire,
Babytalk,
Morten Harket,
Black Bananas,
Suburban Knight,
Steve Hackett,
Gregory Isaacs,
Pylon,
Ronan,
Rotary Connection,
The Angels of Light,
Kaleidoscope,
Cal Tjader,
Juan Atkins,
Ash Ra Tempel,
Amazonics,
The Zeros,
Sällskapet,
Smog,
Pharaoh Sanders and the Fire Engines,
Symarip,
The Knickerbockers, The Knickerbockers, The Knickerbockers, The Knickerbockers.
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.