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 Liberia and from Philadelphia.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Taipei and Accra.
I'm losing my edge to the art-school Philadelphia 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 organ 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 Todd Rundgren to the electroclash kids.
I played it at the Crocodile.
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 Country Joe & The Fish. All the underground hits.
All The Flesh Eaters tracks. I heard you have a vinyl of every Mr. Review record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a rhodes and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Lou Christie record.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
EPMD,
Technova,
Young Marble Giants,
Loose Ends,
Pagans,
Scientists,
Grandmaster Flash and the Furious Five,
Eli Mardock,
K-Klass,
Angels of Light & Akron/Family,
Cal Tjader,
Art Ensemble Of Chicago,
Kas Product,
Marc Almond,
Agitation Free,
Alison Limerick,
Hashim,
Black Pus,
The Residents,
Flash Fearless,
The Neon Judgement,
Selector Dub Narcotic,
The Saints,
The Victims,
Ossler,
Sound Behaviour,
Amon Düül II,
the Normal,
Aaron Thompson,
Erasure,
Todd Terry,
Captain Beefheart & His Magic Band,
A Certain Ratio,
Monks,
Section 25,
Bluetip,
Dead Boys,
The Vogues,
Sixth Finger,
UT,
Black Sheep,
Rhythm & Sound,
The Dave Clark Five,
Drexciya,
Sandy B,
James Chance & The Contortions,
Ultra Naté,
Moss Icon,
Rites of Spring,
Gerry Rafferty,
Theoretical Girls,
Johnny Osbourne,
Television Personalities,
Bobby Womack,
The Gun Club,
Thompson Twins,
Altered Images,
London Community Gospel Choir,
Absolute Body Control,
Arcadia,
Aswad,
Deakin, Deakin, Deakin, Deakin.
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.