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 Czech Republic and from Manchester.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1975.
I'm losing my edge.
To all the kids in Hong Kong and Bremen.
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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the harpsichord 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 Donald Byrd to the jazz kids.
I played it at the Troubador.
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 Flesh Eaters. All the underground hits.
All The Names 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 dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a 808 and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Flamin' Groovies record.
I hear that you and your band have sold your marimba and bought a theremin.
I hear that you and your band have sold your theremin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Spandau Ballet,
Kas Product,
Reagan Youth,
Black Pus,
a-ha,
Louis and Bebe Barron,
The Neon Judgement,
Eric Dolphy,
Arcadia,
Lower 48,
The Misunderstood,
Peter & Gordon,
DeepChord presents Echospace,
Dark Day,
Tommy Roe,
Bluetip,
Alice Coltrane,
Siglo XX,
kango's stein massive,
The Remains,
Soulsonic Force,
The Fortunes,
Lindisfarne,
Toni Rubio,
A Flock of Seagulls,
Soft Cell,
Rosa Yemen,
Clear Light,
New York Dolls,
Gabor Szabo,
The Tremeloes,
Agent Orange,
Mission of Burma,
Radiohead,
Easy Going,
The Monochrome Set,
The Gun Club,
Hasil Adkins,
the Bar-Kays,
The Doobie Brothers,
John Holt,
Ultravox,
The Velvet Underground,
Ash Ra Tempel,
Liliput,
Chris Corsano,
The Fire Engines,
Sound Behaviour,
The Royal Family And The Poor,
The Gladiators,
Theoretical Girls,
Suburban Knight,
Sexual Harrassment,
X-101,
These Immortal Souls,
Sarah Menescal,
Underground Resistance,
Average White Band,
Charles Mingus,
The United States of America,
The Golliwogs, The Golliwogs, The Golliwogs, The Golliwogs.
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.