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 Djibouti and from Sao Paulo.
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 1968 to 1974.
I'm losing my edge.
To all the kids in Johannesburg and Beijing.
I'm losing my edge to the art-school Toronto 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 Tom Verlaine 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 Visage to the dance kids.
I played it at Cafe Wha.
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 K-Klass. All the underground hits.
All Sandy B tracks. I heard you have a vinyl of every Gabor Szabo record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a clarinet and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Divine Comedy record.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
KRS-One,
The Star Department,
Lucky Dragons,
Idris Muhammad,
Chris & Cosey,
The Busters,
Donny Hathaway,
Susan Cadogan,
Orchestral Manoeuvres in the Dark,
Banda Bassotti,
Fad Gadget,
Henry Cow,
The Cowsills,
Lee Hazlewood,
Sad Lovers and Giants,
Ultimate Spinach,
The Men They Couldn't Hang,
the Normal,
The Gun Club,
Sexual Harrassment,
Bronski Beat,
Glambeats Corp.,
Marvin Gaye,
Soulsonic Force,
Mandrill,
The J.B.'s,
Joy Division,
Robert Hood,
Soft Machine,
Sonic Youth,
Lindisfarne,
Monks,
Outsiders,
Nik Kershaw,
Gichy Dan,
Boogie Down Productions,
Eric Copeland,
Jacques Brel,
Todd Rundgren,
Aaron Thompson,
Freddie Wadling,
Radiohead,
Ronnie Foster,
The Offenders,
The Index,
Anthony Braxton,
Scott Walker + Sunn O))),
The Fuzztones,
Crispy Ambulance,
Flamin' Groovies,
Warsaw,
FM Einheit,
Camouflage,
Moby Grape,
Roy Ayers Ubiquity,
Negative Approach,
Kings Of Tomorrow,
Spandau Ballet,
Juan Atkins,
Harmonia,
Kool Moe Dee, Kool Moe Dee, Kool Moe Dee, Kool Moe Dee.
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.