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 Malta and from Calgary.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1967 to 1979.
I'm losing my edge.
To all the kids in Bremen and Stockholm.
I'm losing my edge to the art-school Houston 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 Holger Czukay 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 U.S. Maple to the dance 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 Amon Düül. All the underground hits.
All Donald Byrd tracks. I heard you have a vinyl of every Avey Tare & Kría Brekkan 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 '80s.
I hear you're buying a clarinet and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Smog record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Liliput,
The Smiths,
Richard Hell and the Voidoids,
The Invisible,
48th St. Collective,
Steve Hackett,
Grandmaster Flash and the Furious Five,
Public Image Ltd.,
The Dave Clark Five,
The Knickerbockers,
Zapp,
Louis and Bebe Barron,
The Index,
Ronnie Foster,
Simply Red,
Ultravox,
Andrew Ashong & Theo Parrish,
Larry & the Blue Notes,
The Music Machine,
The Shadows of Knight,
Fad Gadget,
Hardrive,
Lee Hazlewood,
The Flesh Eaters,
The Sound,
Loose Ends,
Art Ensemble Of Chicago,
Marshall Jefferson,
David Bowie,
Roxette,
Guru Guru,
Crash Course in Science,
Lower 48,
10cc,
Darondo,
Deadbeat,
Yusef Lateef,
Scan 7,
Althea and Donna,
Boz Scaggs,
Sun Ra,
Wings,
Bootsy Collins,
FM Einheit,
Glambeats Corp.,
The Monochrome Set,
Notorious Big And Bone Thugs,
Captain Beefheart & His Magic Band,
The United States of America,
AZ,
Suburban Knight,
Royal Trux,
Marc Almond,
Mr. Review,
Max Romeo,
Alice Coltrane,
Susan Cadogan,
Sugar Minott,
Gichy Dan,
Lou Reed,
cv313,
Joyce Sims, Joyce Sims, Joyce Sims, Joyce Sims.
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.