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 Spain and from Houston.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1962 to 1977.
I'm losing my edge.
To all the kids in Copenhagen and Salvador.
I'm losing my edge to the art-school London 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 guitar sounds with much patience.
I was there when Tom Verlaine 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 These Immortal Souls to the techno kids.
I played it at the Roxy.
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 Scratch Acid. All the underground hits.
All These Immortal Souls tracks. I heard you have a vinyl of every Nils Olav record on German import.
I heard that you have a white label of every seminal disco 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 clarinet and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a AZ record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nirvana,
Young Marble Giants,
Marvin Gaye,
the Sonics,
Interpol,
Davy DMX,
Stetsasonic,
Vaughan Mason & Crew,
The Moleskins,
E-Dancer,
Dr. Dre and Snoop Doggy Dog,
Amon Düül II,
the Bar-Kays,
Kerri Chandler,
Strawberry Alarm Clock,
Harpers Bizarre,
Avey Tare's Slasher Flicks,
Grandmaster Flash and the Furious Five,
China Crisis,
Kaleidoscope,
Q and Not U,
Bill Near,
Albert Ayler,
Marc Romboy vs. Booka Shade,
The Vogues,
the Slits,
Byron Stingily,
Lalo Schifrin,
Mark Hollis,
The Doobie Brothers,
The Red Krayola,
David McCallum,
Rites of Spring,
Marine Girls,
The Gladiators,
Lower 48,
Ralphi Rosario,
The Gap Band,
Bob Dylan,
X-101,
Simply Red,
R.M.O.,
Gerry Rafferty,
Bootsy Collins,
Barbara Tucker,
Eve St. Jones,
Pierre Henry,
Schoolly D,
Sticky Fingaz feat. Raekwon,
Bobby Sherman,
B.T. Express,
The Fortunes,
Jeru the Damaja,
The Slackers,
Duran Duran,
Ornette Coleman,
Royal Trux,
Soft Machine,
OOIOO,
Robert Wyatt,
Newcleus,
Buzzcocks,
Agent Orange,
Thompson Twins, Thompson Twins, Thompson Twins, Thompson Twins.
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.