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 Afghanistan and from Manila.
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 1968 to 1971.
I'm losing my edge.
To all the kids in Stockholm and Mumbai.
I'm losing my edge to the art-school Manchester 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 1973 at the first Television practice in a loft in New York.
I was working on the guitar 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 Groovy Waters to the funk 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 Babytalk. All the underground hits.
All It's A Beautiful Day tracks. I heard you have a vinyl of every Amon Düül 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 sitar and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Tomorrow record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Audionom,
Index,
Althea and Donna,
Scott Walker,
Television Personalities,
48th St. Collective,
8 Eyed Spy,
Technova,
Liaisons Dangereuses,
Quantec,
Todd Terry,
Lungfish,
Howard Jones,
Rites of Spring,
Gastr Del Sol,
Major Organ And The Adding Machine,
Second Layer,
Fluxion,
Jeff Mills,
The Slackers,
Lakeside,
Kool Moe Dee,
Arthur Verocai,
This Heat,
Harpers Bizarre,
The Gap Band,
Smog,
Angels of Light & Akron/Family,
Trumans Water,
Gong,
Gregory Isaacs,
kango's stein massive,
Dawn Penn,
Fat Boys,
Section 25,
Chrome,
Justin Hinds & The Dominoes,
Dr. Dre and Snoop Doggy Dog,
Mo-Dettes,
H. Thieme,
Minny Pops,
Arcadia,
Bobby Hutcherson,
DeepChord presents Echospace,
David Axelrod,
Rakim,
Shoche,
The New Christs,
Leonard Cohen,
Procol Harum,
Drive Like Jehu,
Depeche Mode,
Simply Red,
Jacob Miller,
Wally Richardson,
Yusef Lateef,
Fort Wilson Riot,
The Trojans,
Lyres,
Animal Collective,
The Invisible,
Peter & Gordon, Peter & Gordon, Peter & Gordon, Peter & Gordon.
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.