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 Vietnam and from Lyon.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1973.
I'm losing my edge.
To all the kids in Toronto and Mexico City.
I'm losing my edge to the art-school Mumbai 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 arpeggiator 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 Qualms 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 Severed Heads. All the underground hits.
All The Human League tracks. I heard you have a vinyl of every China Crisis record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a rhodes and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Cluster record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lucky Dragons,
Sight & Sound,
Marc Almond,
Rakim,
Eyeless In Gaza,
Justin Hinds & The Dominoes,
The Motions,
Joey Negro,
Peter Gordon & Love of Life Orchestra,
Yusef Lateef,
Hardrive,
Susan Cadogan,
The Moleskins,
Ossler,
Reagan Youth,
Harmonia,
Amon Düül,
Kayak,
Fluxion,
Art Ensemble Of Chicago,
Danielle Patucci,
Vainqueur,
Country Joe & The Fish,
Arcadia,
Bobby Sherman,
Suburban Knight,
Slave,
Siouxsie and the Banshees,
Darondo,
Bad Manners,
Chrome,
Matthew Bourne,
Nik Kershaw,
a-ha,
The Golliwogs,
Metal Thangz,
Erykah Badu,
Camberwell Now,
Public Enemy,
The Men They Couldn't Hang,
A Certain Ratio,
Sällskapet,
Rhythim Is Rhythim,
The Offenders,
Popol Vuh,
Mark Hollis,
X-101,
Thompson Twins,
The Neon Judgement,
Marshall Jefferson,
Neu!,
Sonic Youth,
KRS-One,
Bang On A Can,
Mr. Review,
Warsaw,
Liaisons Dangereuses,
H. Thieme,
Smog,
Kauko Röyhkä ja Narttu,
Oneida,
Crispy Ambulance,
June of 44, June of 44, June of 44, June of 44.
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.