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 India and from Tehran.
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 1971.
I'm losing my edge.
To all the kids in Spokane and Edmonton.
I'm losing my edge to the art-school Bremen 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the arpeggiator sounds with much patience.
I was there when Lou Reed 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 Soft Cell 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 Jacques Brel. All the underground hits.
All Kas Product tracks. I heard you have a vinyl of every The Searchers record on German import.
I heard that you have a white label of every seminal jazz 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 guitar and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Rhythm & Sound record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Beasts of Bourbon,
Freddie Wadling,
Thee Headcoats,
Notorious BIG live in Amsterdam,
Glambeats Corp.,
Davy DMX,
Wings,
Scratch Acid,
Mr. Review,
Bauhaus,
Boz Scaggs,
Young Marble Giants,
Notorious Big And Bone Thugs,
The Doors,
Ituana,
EPMD,
Zapp,
The Golliwogs,
ABBA,
Darondo,
Stockholm Monsters,
Robert Görl,
Cecil Taylor,
The Busters,
Roxy Music,
Lalann,
Gary Puckett & The Union Gap,
Bob Dylan,
Rosa Yemen,
Lyres,
Oneida,
Heavy D & The Boyz,
The Fortunes,
The Music Machine,
Terrestrial Tones,
Laurel Aitken,
Juan Atkins,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Animal Collective,
Eric B and Rakim,
This Heat,
Gerry Rafferty,
Joey Negro,
Harmonia,
Fatback Band,
Subhumans,
Absolute Body Control,
The Sound,
Lucky Dragons,
The Victims,
Al Stewart,
Black Flag,
Kauko Röyhkä ja Narttu,
Tomorrow,
Sight & Sound,
La Düsseldorf,
Piero Umiliani,
Pylon,
Bill Near,
Fat Boys, Fat Boys, Fat Boys, Fat Boys.
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.