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 Vietnam and from New York.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Lyon and Tokyo.
I'm losing my edge to the art-school Lille 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the arpeggiator 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 Marcia Griffiths to the disco kids.
I played it at CBGB's.
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 Motorama. All the underground hits.
All The Velvet Underground tracks. I heard you have a vinyl of every Bobby Sherman record on German import.
I heard that you have a white label of every seminal electroclash 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 guitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Freddie Wadling record.
I hear that you and your band have sold your synthesizer and bought a guitar.
I hear that you and your band have sold your guitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
David Bowie,
The J.B.'s,
The American Breed,
Pete Rock & C.L. Smooth,
Crooked Eye,
The Cowsills,
Gichy Dan,
The Detroit Cobras,
Bluetip,
Laurel Aitken,
Junior Murvin,
Echospace,
The Evens,
Gong,
The Angels of Light,
Yellowson,
The Star Department,
Deepchord,
Audionom,
Terrestrial Tones,
The Grass Roots,
Drive Like Jehu,
The Last Poets,
Radiopuhelimet,
Blancmange,
Ituana,
Accadde A,
Wasted Youth,
John Foxx,
Public Image Ltd.,
Peter & Gordon,
Michelle Simonal,
Flipper,
Spandau Ballet,
Godley & Creme,
Lou Christie,
Wally Richardson,
Ultra Naté,
Boz Scaggs,
Kool G Rap & DJ Polo,
The Electric Prunes,
Idris Muhammad,
Röyhkä ja Rättö ja Lehtisalo,
Morten Harket,
Hashim,
the Germs,
Bob Dylan,
Yusef Lateef,
The Birthday Party,
Donny Hathaway,
Alison Limerick,
The Shadows of Knight,
The Trojans,
The Fugs,
Beasts of Bourbon,
Sad Lovers and Giants,
Harry Pussy,
Eric Dolphy,
Dark Day,
Ultravox, Ultravox, Ultravox, Ultravox.
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.