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 Estonia and from Toronto.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Delhi and Seoul.
I'm losing my edge to the art-school Seoul 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 spring reverb 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 Sister Nancy to the funk kids.
I played it at the 40 Watt.
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 Amon Düül II. All the underground hits.
All Infiniti tracks. I heard you have a vinyl of every New York Dolls 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 linndrum and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Rites of Spring record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dead Boys,
The Blues Magoos,
A Flock of Seagulls,
OOIOO,
Thompson Twins,
MDC,
Radiohead,
The Young Rascals,
The Gap Band,
June Days,
Bobby Womack,
Liliput,
Todd Terry,
Chris & Cosey,
Porter Ricks,
Peter and Kerry,
AZ,
Dorothy Ashby,
The Music Machine,
The Techniques,
Eric B and Rakim,
Toni Rubio,
Technova,
The Move,
Captain Beefheart & His Magic Band,
Sparks,
James Chance & The Contortions,
Duran Duran,
The Dave Clark Five,
Magma,
Gerry Rafferty,
The Smoke,
a-ha,
Pharaoh Sanders and the Fire Engines,
Big Daddy Kane,
The Pretty Things,
Cluster,
Marvin Gaye,
Bootsy Collins,
Lungfish,
Tomorrow,
A Certain Ratio,
Robert Hood,
Fugazi,
Blancmange,
Black Sheep,
Oneida,
Minny Pops,
Morten Harket,
Ralphi Rosario,
Sugar Minott,
DJ Sneak,
Amazonics,
Aloha Tigers,
Ultramagnetic MC's,
Moebius,
Tom Boy,
The Moody Blues,
The Vogues,
the Sonics,
the Normal,
The Detroit Cobras,
Sunsets and Hearts,
Ludus, Ludus, Ludus, Ludus.
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.