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 Panama and from Hong Kong.
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 1965 to 1976.
I'm losing my edge.
To all the kids in Lille and Houston.
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 1978 at the first Visage practice in a loft in London.
I was working on the chamberlin 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 techno kids.
I played it at the Spitz.
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 Spandau Ballet. All the underground hits.
All The Mummies tracks. I heard you have a vinyl of every Unrelated Segments record on German import.
I heard that you have a white label of every seminal rock 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 808 and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Captain Beefheart & His Magic Band record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
MDC,
Hashim,
The Zeros,
Wire,
Harry Pussy,
Sarah Menescal,
Fat Boys,
Vainqueur,
Negative Approach,
Susan Cadogan,
Eli Mardock,
Kaleidoscope,
Marc Almond,
Deepchord,
Art Ensemble Of Chicago,
Infiniti,
Yazoo,
Amon Düül II,
Whodini,
Mark Hollis,
Altered Images,
Absolute Body Control,
Tears for Fears,
Jeff Mills,
Skaos,
Motorama,
Barbara Tucker,
Dark Day,
Duran Duran,
Nas,
The Fortunes,
Spoonie Gee,
Massinfluence,
Flash Fearless,
The Searchers,
Charles Mingus,
Peter Gordon & Love of Life Orchestra,
Grauzone,
Idris Muhammad,
Adolescents,
Sonic Youth,
World's Most,
The Red Krayola,
Carl Craig,
Joe Finger,
Sun Ra,
Al Stewart,
Young Marble Giants,
Major Organ And The Adding Machine,
The Mummies,
JFA,
Cecil Taylor,
Ultramagnetic MC's,
The Skatalites,
Kings Of Tomorrow,
Pole,
Moss Icon,
Gang Starr,
In Retrospect,
Terror Squad Feat. Camron,
Simply Red, Simply Red, Simply Red, Simply Red.
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.