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 Malawi and from Beijing.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1970.
I'm losing my edge.
To all the kids in Milan and Cairo.
I'm losing my edge to the art-school Columbus 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 spring reverb 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 Crispian St. Peters to the techno kids.
I played it at the Hacienda.
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 Kayak. All the underground hits.
All Dead Boys tracks. I heard you have a vinyl of every Porter Ricks record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
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 Interpol record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sparks,
Josef K,
The Skatalites,
Grey Daturas,
Bush Tetras,
Pole,
Roxette,
Eden Ahbez,
Echospace,
Radiopuhelimet,
Delon & Dalcan,
DeepChord presents Echospace,
Quadrant,
Buzzcocks,
Donald Byrd,
Mark Hollis,
Con Funk Shun,
Mars,
Schoolly D,
Skarface,
The Peanut Butter Conspiracy,
The Monks,
The Residents,
Gichy Dan,
X-Ray Spex,
the Slits,
The Motions,
Easy Going,
Nas,
Kings Of Tomorrow,
Skriet,
Jerry Gold Smith,
Infiniti,
Be Bop Deluxe,
James Chance & The Contortions,
Siouxsie and the Banshees,
Bang On A Can,
David McCallum,
Teenage Jesus and the Jerks,
Supertramp,
D'Angelo,
June of 44,
Davy DMX,
Tropical Tobacco,
David Bowie,
John Holt,
The Alarm Clocks,
New Age Steppers,
Byron Stingily,
Wasted Youth,
Dr. Dre and Snoop Doggy Dog,
Carl Craig,
Anakelly,
Scion,
Jeff Lynne,
Grauzone,
John Foxx,
Fatback Band,
Arab on Radar,
Flamin' Groovies,
Popol Vuh,
Isaac Hayes,
Matthew Bourne,
Second Layer, Second Layer, Second Layer, Second Layer.
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.