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 Luxembourg and from Mexico City.
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 1967 to 1975.
I'm losing my edge.
To all the kids in Bologna and Taipei.
I'm losing my edge to the art-school Madrid 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 clarinet 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 Reagan Youth to the disco 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 Danielle Patucci. All the underground hits.
All Magazine tracks. I heard you have a vinyl of every Eric Copeland record on German import.
I heard that you have a white label of every seminal grunge 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 chamberlin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Deakin record.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stereo Dub,
Glenn Branca,
ABC,
Spandau Ballet,
Make Up,
Barclay James Harvest,
Siouxsie and the Banshees,
Cheater Slicks,
China Crisis,
Easy Going,
Radiopuhelimet,
Deepchord,
Von Mondo,
Byron Stingily,
Pere Ubu,
Nils Olav,
Kurtis Blow,
Banda Bassotti,
Wings,
Q65,
The Fire Engines,
Porter Ricks,
Infiniti,
Deakin,
The Blues Magoos,
The Fuzztones,
AZ,
Vainqueur,
Flipper,
Blake Baxter,
Visage,
Chrome,
Soulsonic Force,
Cameo,
Boredoms,
Clear Light,
Parry Music,
The Dead C,
Guru Guru,
Tropical Tobacco,
Pet Shop Boys,
In Retrospect,
Vaughan Mason & Crew,
Moss Icon,
Nation of Ulysses,
Franke,
Crash Course in Science,
the Normal,
Hoover,
The Move,
Camouflage,
Tomorrow,
The Sonics,
Yazoo,
Marvin Gaye,
Major Organ And The Adding Machine,
Fort Wilson Riot,
Richard Hell and the Voidoids,
Sugar Minott,
Bauhaus, Bauhaus, Bauhaus, Bauhaus.
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.