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 Paraguay and from Woodstock.
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 1965 to 1973.
I'm losing my edge.
To all the kids in Spokane and Sao Paulo.
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 mellotron 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 Sonny Sharrock to the techno 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 Gary Puckett & The Union Gap. All the underground hits.
All Lyres tracks. I heard you have a vinyl of every Marshall Jefferson 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 '70s cut and another box set from the '80s.
I hear you're buying a güiro and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Soft Cell record.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bush Tetras,
Dead Boys,
Heavy D & The Boyz,
Grey Daturas,
Average White Band,
Faust,
Joensuu 1685,
Lightning Bolt,
Radio Birdman,
Gil Scott-Heron & Brian Jackson,
Pantaleimon,
The Dead C,
Blancmange,
Adolescents,
Lou Reed & Metallica,
Whodini,
Deutsch Amerikanische Freundschaft,
Skarface,
LL Cool J,
The Dave Clark Five,
The Chocolate Watch Band,
Mars,
Brand Nubian,
Dawn Penn,
Avey Tare's Slasher Flicks,
Can,
Eurythmics,
Marvin Gaye,
Lonnie Liston Smith,
Dr. Dre and Snoop Doggy Dog,
Todd Terry,
JFA,
Ultra Naté,
MC5,
Cheater Slicks,
Major Organ And The Adding Machine,
AZ,
The Mummies,
Fatback Band,
Skriet,
Ten City,
Susan Cadogan,
Eve St. Jones,
Boogie Down Productions,
Junior Murvin,
Bobby Sherman,
Bill Wells,
Gang Starr,
David Axelrod,
David McCallum,
T. Rex,
Fugazi,
Sun City Girls,
Charles Mingus,
Jesper Dahlback,
Hot Snakes,
Anakelly,
Pulsallama,
Niagra,
The Blues Magoos,
Ken Boothe,
Byron Stingily,
Sarah Menescal, Sarah Menescal, Sarah Menescal, Sarah Menescal.
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.