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 the UAE and from Copenhagen.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1966 to 1977.
I'm losing my edge.
To all the kids in Portland and Stockholm.
I'm losing my edge to the art-school Spokane 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 chamberlin 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 The Gladiators to the grunge 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 Sparks. All the underground hits.
All Masta Ace, Craig G, Kool G Rap, Big Daddy Kane tracks. I heard you have a vinyl of every Tears for Fears record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a mellotron and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Minutemen record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kings Of Tomorrow,
The Happenings,
The Doobie Brothers,
Lee Hazlewood,
Mad Mike,
X-102,
The Smiths,
Crime,
F. McDonald,
Aural Exciters,
Pantytec,
Groovy Waters,
Q65,
Echospace,
8 Eyed Spy,
Mr. Review,
Albert Ayler,
Don Cherry,
Panda Bear,
Neu!,
X-Ray Spex,
Accadde A,
Ash Ra Tempel,
Henry Cow,
Soul II Soul,
Lungfish,
Eden Ahbez,
James Chance & The Contortions,
The Alarm Clocks,
Man Eating Sloth,
The Durutti Column,
The Fugs,
Amon Düül II,
Glambeats Corp.,
Spoonie Gee,
The Five Americans,
Wings,
Audionom,
Minutemen,
Infiniti,
The Pretty Things,
Echo & the Bunnymen,
Blancmange,
Basic Channel,
Beasts of Bourbon,
Byron Stingily,
The Smoke,
Icehouse,
Colin Newman,
The Monochrome Set,
Qualms,
Marc Romboy vs. Booka Shade,
The Seeds,
Sight & Sound,
The Gladiators,
Strawberry Alarm Clock,
Lou Reed & John Cale,
Letta Mbulu,
The Gap Band,
The Cosmic Jokers,
Nick Fraelich,
The Kinks, The Kinks, The Kinks, The Kinks.
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.