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 Nicaragua and from Jakarta.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1966 to 1971.
I'm losing my edge.
To all the kids in Shanghai and Johannesburg.
I'm losing my edge to the art-school Sao Paulo 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 marimba 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 Public Image Ltd. to the techno 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 Fluxion. All the underground hits.
All Agitation Free tracks. I heard you have a vinyl of every Index 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 '50s cut and another box set from the '90s.
I hear you're buying a synthesizer and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Dead C record.
I hear that you and your band have sold your mellotron and bought an oboe.
I hear that you and your band have sold your oboe and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott Heron,
Pierre Henry,
Girls At Our Best!,
Dead Boys,
Lou Christie,
Cybotron,
Sonic Youth,
Technova,
Absolute Body Control,
Icehouse,
Funky Four + One,
Severed Heads,
Unwound,
EPMD,
Organ,
The Selecter,
Underground Resistance,
The Cramps,
Flamin' Groovies,
Q65,
Yusef Lateef,
Alice Coltrane,
Pharaoh Sanders and the Fire Engines,
the Germs,
Terry Callier,
Warren Ellis,
Index,
Visage,
Ultra Naté,
Khruangbin,
The Human League,
Röyhkä ja Rättö ja Lehtisalo,
The Chocolate Watch Band,
CMW,
Boredoms,
Aloha Tigers,
The Grass Roots,
Crooked Eye,
Lebanon Hanover,
Qualms,
Bill Near,
Donald Byrd,
OOIOO,
Ultravox,
Don Cherry,
Electric Prunes,
Basic Channel,
MC5,
Peter & Gordon,
The Cure,
Echo & the Bunnymen,
Big Daddy Kane,
Ronnie Foster,
The Move,
Joensuu 1685,
PIL,
Roxy Music, Roxy Music, Roxy Music, Roxy Music.
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.