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 Burkina and from Sao Paulo.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1976.
I'm losing my edge.
To all the kids in Beijing and Johannesburg.
I'm losing my edge to the art-school Taipei 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 clarinet sounds with much patience.
I was there when Donald Fagen 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 Roxette to the grunge kids.
I played it at the Hacienda.
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 Au Pairs. All the underground hits.
All Severed Heads tracks. I heard you have a vinyl of every Leonard Cohen record on German import.
I heard that you have a white label of every seminal jazz 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 arpeggiator and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Technova record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fear,
Clear Light,
Fad Gadget,
Eyeless In Gaza,
Jacques Brel,
Jimmy McGriff,
The Fall,
Bobby Womack,
Sparks,
Kevin Saunderson,
Sixth Finger,
Rowland S Howard / Lydia Lunch,
Gerry Rafferty,
Soft Cell,
Slick Rick,
The Zeros,
Lee Hazlewood,
K-Klass,
Tom Boy,
Ralphi Rosario,
The Fortunes,
Icehouse,
The Gladiators,
the Sonics,
Black Flag,
Crime,
Fort Wilson Riot,
Bobby Byrd,
The Doors,
Louis and Bebe Barron,
Bob Dylan,
Hot Snakes,
Lou Christie,
Patti Smith,
Bobby Sherman,
Aswad,
Idris Muhammad,
Donald Byrd,
Beasts of Bourbon,
Simply Red,
Yazoo,
Talk Talk,
Barrington Levy,
The Red Krayola,
John Foxx,
Zero Boys,
Magazine,
The Pop Group,
Trumans Water,
Roy Ayers Ubiquity,
One Last Wish,
The Cramps,
Make Up,
Bobby Hutcherson,
Radiohead,
Lyres,
Gastr Del Sol,
Crispy Ambulance,
The Birthday Party,
Dark Day,
Bobbi Humphrey, Bobbi Humphrey, Bobbi Humphrey, Bobbi Humphrey.
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.