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 New Zealand and from Seoul.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1961 to 1970.
I'm losing my edge.
To all the kids in Cairo and Paris.
I'm losing my edge to the art-school Sao Paulo 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 mellotron 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 The Doors to the rock 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 Bobby Hutcherson. All the underground hits.
All Sonic Youth tracks. I heard you have a vinyl of every The Smiths 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 '50s cut and another box set from the '70s.
I hear you're buying a 808 and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Arthur Verocai record.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Skarface,
The Young Rascals,
Althea and Donna,
Gerry Rafferty,
Jacob Miller,
Absolute Body Control,
The Electric Prunes,
Marshall Jefferson,
Spandau Ballet,
DNA,
James Chance & The Contortions,
48th St. Collective,
Brand Nubian,
Heavy D & The Boyz,
The Busters,
Colin Newman,
Stiv Bators,
The Misunderstood,
Crispy Ambulance,
Motorama,
Rhythim Is Rhythim,
Lou Reed & Metallica,
Pete Rock & C.L. Smooth,
Japan,
The Five Americans,
Heaven 17,
Gabor Szabo,
Ultramagnetic MC's,
The Happenings,
Carl Craig,
Amazonics,
Anthony Braxton,
Soft Cell,
Fad Gadget,
Terrestrial Tones,
Ituana,
Eric Copeland,
Yellowson,
Cymande,
the Slits,
The Detroit Cobras,
The Sound,
The Cramps,
Tres Demented,
Amon Düül II,
The Techniques,
The Fall,
Television Personalities,
Vladislav Delay,
The Raincoats,
Second Layer,
The Durutti Column,
Eve St. Jones,
Ice-T,
DJ Sneak,
Schoolly D,
Supertramp,
Traffic Nightmare,
the Bar-Kays,
The Names,
Symarip,
Unrelated Segments, Unrelated Segments, Unrelated Segments, Unrelated Segments.
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.