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 Philippines and from London.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Madrid and Accra.
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 1973 at the first Television practice in a loft in New York.
I was working on the linndrum 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 Todd Terry to the jazz 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 Cluster. All the underground hits.
All Kaleidoscope tracks. I heard you have a vinyl of every Crash Course in Science record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a harpsichord and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a David Axelrod record.
I hear that you and your band have sold your chamberlin and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Mojo Men,
Con Funk Shun,
Crispian St. Peters,
Tropical Tobacco,
Rahsaan Roland Kirk,
CMW,
The Happenings,
Liliput,
Flipper,
Buzzcocks,
Man Parrish,
Bobby Sherman,
John Holt,
Eric Copeland,
The Grass Roots,
Maurizio,
Neu!,
Ultravox,
Bobby Byrd,
Scan 7,
Essential Logic,
Pylon,
Blancmange,
The Sound,
The Young Rascals,
The Remains,
Josef K,
48th St. Collective,
Marvin Gaye,
kango's stein massive,
Eddi Front,
Kayak,
Bobby Hutcherson,
Television Personalities,
Sexual Harrassment,
The Names,
Bang on a Can All-Stars,
Tres Demented,
Jerry Gold Smith,
Bronski Beat,
Liaisons Dangereuses,
Rod Modell,
Echo & the Bunnymen,
Lonnie Liston Smith,
Barry Ungar,
Black Pus,
Notorious BIG live in Amsterdam,
The Slits,
Eurythmics,
Idris Muhammad,
Crooked Eye,
The Martian,
Radio Birdman,
Pet Shop Boys,
Boredoms,
T.S.O.L.,
The Count Five,
Moss Icon,
Cymande, Cymande, Cymande, Cymande.
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.