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 Belgium and from Lille.
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 1963 to 1979.
I'm losing my edge.
To all the kids in Lagos and Shanghai.
I'm losing my edge to the art-school Tokyo 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 theremin sounds with much patience.
I was there when Robert Palmer 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 Walker Brothers to the disco kids.
I played it at Cafe Wha.
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 Magazine. All the underground hits.
All Slave tracks. I heard you have a vinyl of every Hoover 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 '70s cut and another box set from the '70s.
I hear you're buying a synthesizer and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Sonic Youth record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sad Lovers and Giants,
Bizarre Inc.,
Al Stewart,
The Monochrome Set,
Talk Talk,
Stockholm Monsters,
Make Up,
Sex Pistols,
Donny Hathaway,
Whodini,
The Names,
The Fortunes,
Ash Ra Tempel,
Japan,
Pulsallama,
Crash Course in Science,
Nirvana,
the Soft Cell,
Big Daddy Kane,
Hashim,
The Index,
The Doors,
Barbara Tucker,
The Blues Magoos,
The Skatalites,
Lebanon Hanover,
Liliput,
Scott Walker,
AZ,
Roy Ayers Ubiquity,
Eurythmics,
Freddie Wadling,
Pantytec,
10cc,
OOIOO,
Von Mondo,
Susan Cadogan,
The Gories,
Curtis Mayfield,
the Swans,
Delta 5,
Monolake,
Erykah Badu,
Kauko Röyhkä ja Narttu,
The Dirtbombs,
Dave Gahan,
Sixth Finger,
Jerry Gold Smith,
The Royal Family And The Poor,
Amon Düül,
Saccharine Trust,
Skaos,
Man Eating Sloth,
The Techniques,
Sight & Sound,
Boredoms,
Ohio Players,
ABC,
John Cale,
Unrelated Segments,
Traffic Nightmare,
Bobby Byrd, Bobby Byrd, Bobby Byrd, Bobby Byrd.
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.