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 Djibouti and from Jakarta.
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 1977.
I'm losing my edge.
To all the kids in Calgary and Bremen.
I'm losing my edge to the art-school New York 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 1976 at the first Chic practice in a loft in New York.
I was working on the mellotron sounds with much patience.
I was there when Holger Czukay 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 West Coast Pop Art Experimental Band to the grunge kids.
I played it at the Troubador.
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 Shoche. All the underground hits.
All Eli Mardock tracks. I heard you have a vinyl of every Motorama record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a spring reverb and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Fifty Foot Hose record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wings,
Maleditus Sound,
Model 500,
Arthur Verocai,
Manfred Mann's Earth Band,
Neil Young,
Dual Sessions,
8 Eyed Spy,
The Litter,
Cecil Taylor,
Jeff Mills,
Q65,
Fugazi,
Mars,
The Five Americans,
The Mojo Men,
The Mighty Diamonds,
Cheater Slicks,
Junior Murvin,
Electric Light Orchestra,
Bobby Sherman,
Rotary Connection,
Bill Wells,
Pierre Henry,
Rufus Thomas,
The Young Rascals,
Pylon,
John Foxx,
Supertramp,
Jacques Brel,
Drive Like Jehu,
Metal Thangz,
Todd Rundgren,
Röyhkä ja Rättö ja Lehtisalo,
The Electric Prunes,
Cabaret Voltaire,
Arcadia,
a-ha,
Jawbox,
Ronnie Foster,
Dorothy Ashby,
Bizarre Inc.,
Marmalade,
Das Ding,
Johnny Osbourne,
The Sound,
Susan Cadogan,
The Skatalites,
Matthew Halsall,
Theoretical Girls,
The Knickerbockers,
Bauhaus,
Erasure,
Wasted Youth,
Glenn Branca,
Fort Wilson Riot,
Section 25,
Joe Smooth,
Babytalk,
Siouxsie and the Banshees,
the Association, the Association, the Association, the Association.
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.