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 San Marino and from Tehran.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Jakarta and Manila.
I'm losing my edge to the art-school Beijing 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 chamberlin sounds with much patience.
I was there when David Bowie 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 Easy Going to the punk kids.
I played it at the Crocodile.
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 Echospace. All the underground hits.
All Ajijia Myrayebe tracks. I heard you have a vinyl of every Flash Fearless record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a güiro and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Sixth Finger record.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Minny Pops,
Porter Ricks,
Underground Resistance,
Marc Almond,
Roxy Music,
Soft Cell,
James Chance & The Contortions,
Mandrill,
Black Sheep,
Sight & Sound,
Pantytec,
Cymande,
Tears for Fears,
The Associates,
Black Moon,
Roy Ayers,
Rod Modell,
Easy Going,
Mr. Review,
Fat Boys,
Pole,
Jacques Brel,
Zero Boys,
World's Most,
Angels of Light & Akron/Family,
Magazine,
The Pop Group,
Nas,
Loose Ends,
Schoolly D,
Dawn Penn,
Marshall Jefferson,
Soulsonic Force,
Inner City,
Sun Ra,
Y Pants,
The United States of America,
Absolute Body Control,
David Bowie,
R.M.O.,
Talk Talk,
Livin' Joy,
Das Ding,
Susan Cadogan,
Delon & Dalcan,
The Dead C,
Simply Red,
the Germs,
Model 500,
Laurel Aitken,
Rhythm & Sound,
Jerry Gold Smith,
Yazoo,
The Selecter,
Hot Snakes,
The Young Rascals,
Make Up,
Main Source,
10cc,
June of 44,
Sällskapet,
The Wake,
Peter Gordon & Love of Life Orchestra, Peter Gordon & Love of Life Orchestra, Peter Gordon & Love of Life Orchestra, Peter Gordon & Love of Life Orchestra.
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.