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 Congo and from Cairo.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1969 to 1974.
I'm losing my edge.
To all the kids in Tokyo and Beijing.
I'm losing my edge to the art-school Manila 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 1984 at the first Arcadia practice in a loft in London.
I was working on the sitar sounds with much patience.
I was there when Captain Beefheart 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 Amon Düül II to the disco 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 Desert Stars. All the underground hits.
All Country Teasers tracks. I heard you have a vinyl of every Sex Pistols 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 '60s cut and another box set from the '80s.
I hear you're buying a chamberlin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Brass Construction record.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Masters at Work,
Janne Schatter,
Unwound,
Marvin Gaye,
Lou Reed & Metallica,
Motorama,
Yellowson,
Echospace,
Throbbing Gristle,
Skarface,
Chris Corsano,
Eurythmics,
New Order,
Depeche Mode,
Gregory Isaacs,
Ultra Naté,
Blancmange,
Derrick Morgan,
Albert Ayler,
Eric Dolphy,
The Neon Judgement,
Angels of Light & Akron/Family,
Drexciya,
Zero Boys,
The Searchers,
Tubeway Army,
The Residents,
Arthur Verocai,
Surgeon,
La Düsseldorf,
The Fall,
Oneida,
Technova,
the Human League,
In Retrospect,
L. Decosne,
Wire,
Gerry Rafferty,
Black Moon,
The Jesus and Mary Chain,
Bobby Byrd,
Country Joe & The Fish,
Thompson Twins,
Basic Channel,
The Sound,
The Velvet Underground,
The Names,
Joensuu 1685,
Soul II Soul,
Agitation Free,
Con Funk Shun,
The West Coast Pop Art Experimental Band,
Soft Cell,
The Fire Engines,
Eden Ahbez,
Prince Buster,
The Count Five,
The Index,
X-101, X-101, X-101, X-101.
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.