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 Brunei and from Spokane.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Portland and Philadelphia.
I'm losing my edge to the art-school Shanghai 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the oboe 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 World's Most to the rap 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 The Gun Club. All the underground hits.
All Yaz tracks. I heard you have a vinyl of every Essential Logic record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a guitar and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Spandau Ballet record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Orchestral Manoeuvres in the Dark,
Kas Product,
Neil Young,
Lou Reed & John Cale,
Lalann,
Black Flag,
Tropical Tobacco,
Echospace,
Franke,
Niagra,
Unwound,
Stiv Bators,
Quando Quango,
Fort Wilson Riot,
Joyce Sims,
Unrelated Segments,
Aloha Tigers,
Morten Harket,
The Index,
Cabaret Voltaire,
Blancmange,
Marcia Griffiths,
The Velvet Underground,
The Cramps,
Beasts of Bourbon,
The Cosmic Jokers,
Jimmy McGriff,
Camberwell Now,
China Crisis,
Con Funk Shun,
Zapp,
Amazonics,
AZ,
Pole,
Avey Tare,
Robert Hood,
Tim Buckley,
Sound Behaviour,
X-Ray Spex,
Bootsy Collins,
Joe Smooth,
Susan Cadogan,
Shuggie Otis,
Scott Walker,
New York Dolls,
The Sound,
Nik Kershaw,
Anthony Braxton,
The West Coast Pop Art Experimental Band,
Cameo,
Crispy Ambulance,
Eve St. Jones,
Aural Exciters,
Bang on a Can All-Stars,
Sunsets and Hearts,
Electric Prunes,
The Gun Club,
The Modern Lovers,
Godley & Creme,
Anakelly,
Brothers Johnson,
Visage,
Ten City, Ten City, Ten City, Ten City.
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.