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 Panama and from Manchester.
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 1972.
I'm losing my edge.
To all the kids in Lyon and Spokane.
I'm losing my edge to the art-school Stockholm 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the synthesizer 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 Swell Maps 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 Kevin Saunderson. All the underground hits.
All Brass Construction tracks. I heard you have a vinyl of every The Gladiators 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 '70s.
I hear you're buying a harpsichord and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Spoonie Gee record.
I hear that you and your band have sold your clarinet and bought a güiro.
I hear that you and your band have sold your güiro and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cybotron,
Schoolly D,
The J.B.'s,
Desert Stars,
Lee Hazlewood,
X-Ray Spex,
Flipper,
Monks,
Vladislav Delay,
The Detroit Cobras,
The Modern Lovers,
Byron Stingily,
Yellowson,
Sonic Youth,
Bobby Byrd,
Liliput,
Peter & Gordon,
Barry Ungar,
Marshall Jefferson,
Parry Music,
Urselle,
Simply Red,
the Soft Cell,
Todd Rundgren,
cv313,
Malaria!,
Sun City Girls,
Fugazi,
The Martian,
Radio Birdman,
Sällskapet,
Marcia Griffiths,
Deadbeat,
Soulsonic Force,
DNA,
Pete Rock & C.L. Smooth,
Mandrill,
Ultramagnetic MC's,
Juan Atkins,
Al Stewart,
Angry Samoans,
Erasure,
David Axelrod,
The Names,
Piero Umiliani,
Hot Snakes,
Rotary Connection,
The Barracudas,
Lightning Bolt,
The Real Kids,
Television Personalities,
Y Pants,
Curtis Mayfield,
Robert Görl,
Susan Cadogan,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Gories,
Public Enemy,
Richard Hell and the Voidoids, Richard Hell and the Voidoids, Richard Hell and the Voidoids, Richard Hell and the Voidoids.
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.