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 Peru and from London.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1971.
I'm losing my edge.
To all the kids in Jakarta and Delhi.
I'm losing my edge to the art-school Mexico City 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 marimba sounds with much patience.
I was there when Lou Reed 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 JFA to the dance kids.
I played it at the Astoria.
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 Durutti Column. All the underground hits.
All The Velvet Underground tracks. I heard you have a vinyl of every James White and The Blacks 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 '50s cut and another box set from the '70s.
I hear you're buying an oboe and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Buckinghams record.
I hear that you and your band have sold your güiro and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Quantec,
Nils Olav,
Supertramp,
The Jesus and Mary Chain,
Symarip,
The Dead C,
Terry Callier,
Prince Buster,
The Doobie Brothers,
Bobby Sherman,
Technova,
Pharoah Sanders,
Public Enemy,
Tom Boy,
Public Image Ltd.,
John Foxx,
the Soft Cell,
the Association,
Leonard Cohen,
The American Breed,
Robert Görl,
Pet Shop Boys,
Kauko Röyhkä ja Narttu,
Cabaret Voltaire,
Moebius,
Fort Wilson Riot,
Siouxsie and the Banshees,
Grandmaster Flash and the Furious Five,
James Chance & The Contortions,
Amon Düül,
Lou Reed & Metallica,
Sun Ra Arkestra,
Cluster,
Roxette,
Jawbox,
Visionaries,LMNO, T- Love & Iriscience,
Grey Daturas,
Half Japanese,
Bad Manners,
Pantytec,
The Mummies,
OOIOO,
The Sisters of Mercy,
FM Einheit,
Andrew Ashong & Theo Parrish,
Fad Gadget,
David Bowie,
Kevin Saunderson,
Be Bop Deluxe,
Slick Rick,
Urselle,
Camouflage,
Buzzcocks,
Crime,
Curtis Mayfield,
Fear,
Judy Mowatt,
The Shadows of Knight,
Alice Coltrane,
Matthew Bourne, Matthew Bourne, Matthew Bourne, Matthew Bourne.
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.