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 Slovenia and from Cairo.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1967 to 1978.
I'm losing my edge.
To all the kids in Copenhagen and Stockholm.
I'm losing my edge to the art-school Paris 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 Nile Rodgers 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 Grass Roots to the funk kids.
I played it at Cafe Wha.
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 Mantronix. All the underground hits.
All The United States of America tracks. I heard you have a vinyl of every Altered Images 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 '60s cut and another box set from the '90s.
I hear you're buying an oboe and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Loose Ends record.
I hear that you and your band have sold your mellotron and bought a 808.
I hear that you and your band have sold your 808 and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Alarm Clocks,
The Raincoats,
a-ha,
Electric Light Orchestra,
Peter Gordon & Love of Life Orchestra,
The Names,
Sexual Harrassment,
Television,
The Sisters of Mercy,
DJ Style,
Nation of Ulysses,
U.S. Maple,
La Düsseldorf,
Gang Green,
Robert Görl,
Funkadelic,
Cymande,
Newcleus,
Make Up,
Liliput,
Neu!,
Lungfish,
Ossler,
Icehouse,
Mary Jane Girls,
Camberwell Now,
Juan Atkins,
Unwound,
Animal Collective,
A Certain Ratio,
Model 500,
Clear Light,
The Residents,
Inner City,
Second Layer,
The Red Krayola,
Eve St. Jones,
Pulsallama,
Cabaret Voltaire,
Country Teasers,
Ash Ra Tempel,
Pagans,
Q65,
Rekid,
Joensuu 1685,
Pharoah Sanders,
In Retrospect,
Prince Buster,
Derrick May,
Steve Hackett,
Anakelly,
Anthony Braxton,
Chrome,
The Neon Judgement,
Ultra Naté,
Michelle Simonal,
Country Joe & The Fish,
Joe Smooth,
Rhythm & Sound,
CMW,
Pharaoh Sanders and the Fire Engines,
China Crisis,
Shoche,
F. McDonald, F. McDonald, F. McDonald, F. McDonald.
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.