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 Lesotho and from Toronto.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Spokane and Beijing.
I'm losing my edge to the art-school Mexico City 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 linndrum sounds with much patience.
I was there when Captain Beefheart 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 Godley & Creme to the dance 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 John Foxx. All the underground hits.
All Agitation Free tracks. I heard you have a vinyl of every Lakeside 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 an arpeggiator and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Liliput record.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Flamin' Groovies,
Flash Fearless,
Derrick Morgan,
The Moleskins,
Laurel Aitken,
Fear,
Q65,
cv313,
The Jesus and Mary Chain,
The Pop Group,
Boogie Down Productions,
The Fuzztones,
Scion,
Max Romeo,
Howard Jones,
Qualms,
The Moody Blues,
Quantec,
Eric Copeland,
Nik Kershaw,
Lebanon Hanover,
Au Pairs,
Frankie Knuckles,
10cc,
Major Organ And The Adding Machine,
Absolute Body Control,
Big Daddy Kane,
Jerry Gold Smith,
The Litter,
Dave Gahan,
X-101,
Barry Ungar,
Selector Dub Narcotic,
Visage,
Blossom Toes,
Jeff Mills,
DJ Style,
Donald Byrd,
Pharoah Sanders,
Gong,
The Motions,
The Sonics,
Lou Reed,
The Black Dice,
Sonny Sharrock,
Lindisfarne,
Brass Construction,
Funkadelic,
Bauhaus,
Gang Starr,
Jawbox,
Rowland S Howard / Lydia Lunch,
Half Japanese,
Traffic Nightmare,
Scan 7,
Nico,
Severed Heads,
Easy Going,
Joe Smooth,
Isaac Hayes,
Echospace,
Suburban Knight,
Mars,
Brick, Brick, Brick, Brick.
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.