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 Malta and from Hong Kong.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1972.
I'm losing my edge.
To all the kids in Salvador and Milan.
I'm losing my edge to the art-school Accra 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 sitar sounds with much patience.
I was there when Robert Palmer 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 Bobby Sherman to the techno kids.
I played it at the Astoria.
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 Matthew Bourne. All the underground hits.
All The Zeros tracks. I heard you have a vinyl of every 48th St. Collective record on German import.
I heard that you have a white label of every seminal dance 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 a rhodes and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a A Flock of Seagulls record.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Little Man,
Dorothy Ashby,
Graham Central Station,
Ossler,
Vainqueur,
Stockholm Monsters,
The Barracudas,
Selector Dub Narcotic,
Boz Scaggs,
Blossom Toes,
Rapeman,
Harpers Bizarre,
The Birthday Party,
Terrestrial Tones,
Deepchord,
Derrick May,
Rekid,
Arcadia,
Eden Ahbez,
Television,
Slave,
The Music Machine,
Pierre Henry,
10cc,
Flamin' Groovies,
Average White Band,
Marc Romboy vs. Booka Shade,
Q and Not U,
Adolescents,
The Gap Band,
The New Christs,
Youth Brigade,
The Blues Magoos,
Camron Feat. Jay Z And Juelz,
The Kinks,
Gang of Four,
Swell Maps,
The Zeros,
Hasil Adkins,
Ponytail,
Crash Course in Science,
Sun Ra,
Symarip,
Wasted Youth,
Porter Ricks,
DNA,
Robert Görl,
The Happenings,
the Association,
Yazoo,
The Fall,
Minny Pops,
The Gladiators,
Procol Harum,
Tears for Fears,
Electric Light Orchestra,
The Cramps,
The Peanut Butter Conspiracy,
Qualms,
Kerrie Biddell,
Danielle Patucci,
Grandmaster Flash and the Furious Five,
Make Up, Make Up, Make Up, Make Up.
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.