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 New Zealand and from Salvador.
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 1965 to 1975.
I'm losing my edge.
To all the kids in Shanghai and Manchester.
I'm losing my edge to the art-school Milan 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 clarinet sounds with much patience.
I was there when Michael McDonald 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 Sällskapet to the electroclash kids.
I played it at the 40 Watt.
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 Negative Approach. All the underground hits.
All Kool Moe Dee tracks. I heard you have a vinyl of every Carl Craig record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a linndrum and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Junior Murvin record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rakim,
Marc Almond,
the Normal,
Gang Gang Dance,
The Star Department,
the Slits,
The Pretty Things,
June Days,
Marmalade,
Richard Hell and the Voidoids,
The Music Machine,
Radiohead,
Barclay James Harvest,
Roger Hodgson,
Bauhaus,
U.S. Maple,
Anakelly,
Eddi Front,
The Move,
The Fire Engines,
Massinfluence,
The Knickerbockers,
X-102,
Delta 5,
Crash Course in Science,
Kool G Rap & DJ Polo,
Harpers Bizarre,
Tomorrow,
Flipper,
The Divine Comedy,
Urselle,
Deakin,
Man Eating Sloth,
Röyhkä ja Rättö ja Lehtisalo,
Marine Girls,
Vainqueur,
Gil Scott Heron,
Average White Band,
DJ Sneak,
The Count Five,
New Age Steppers,
Brick,
Blancmange,
Magazine,
Harry Pussy,
Aaron Thompson,
Motorama,
Major Organ And The Adding Machine,
Organ,
Buzzcocks,
Jeff Mills,
Kool Moe Dee,
Gil Scott-Heron and Jamie xx,
La Düsseldorf,
Rod Modell,
Jesper Dahlbäck,
New York Dolls,
Flamin' Groovies,
Sly & The Family Stone,
Ultra Naté,
Josef K,
The Searchers,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Prince Buster,
Ajijia Myrayebe, Ajijia Myrayebe, Ajijia Myrayebe, Ajijia Myrayebe.
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.