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 Ukraine and from Tokyo.
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 1962 to 1979.
I'm losing my edge.
To all the kids in Paris and Lyon.
I'm losing my edge to the art-school London 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the rhodes sounds with much patience.
I was there when Holger Czukay 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 48th St. Collective 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 Lebanon Hanover. All the underground hits.
All Deutsch Amerikanische Freundschaft tracks. I heard you have a vinyl of every David Axelrod record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a linndrum and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Marshall Jefferson record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Suicide,
Underground Resistance,
Public Enemy,
U.S. Maple,
The Black Dice,
the Normal,
Index,
Althea and Donna,
Laurel Aitken,
The Martian,
Sonic Youth,
Audionom,
Michelle Simonal,
X-101,
Aural Exciters,
Electric Prunes,
The Selecter,
Lou Reed,
Amazonics,
Maleditus Sound,
Henry Cow,
Josef K,
London Community Gospel Choir,
Urselle,
Oneida,
Roxy Music,
The Peanut Butter Conspiracy,
Marshall Jefferson,
Ultimate Spinach,
Robert Görl,
Circle Jerks,
Jimmy McGriff,
Boogie Down Productions,
Lightning Bolt,
Unwound,
Gil Scott-Heron and Jamie xx,
Rhythim Is Rhythim,
Connie Case,
Black Sheep,
Fort Wilson Riot,
Tom Boy,
Janne Schatter,
MDC,
Fad Gadget,
The Misunderstood,
Icehouse,
10cc,
Thompson Twins,
The Divine Comedy,
Niagra,
New Age Steppers,
Gong,
Erasure,
Rowland S Howard / Lydia Lunch,
The Alarm Clocks,
Camron Feat. Memphis Bleek And Beenie Seigel,
Ronan,
Youth Brigade,
Scrapy,
Nick Cave & The Bad Seeds, Nick Cave & The Bad Seeds, Nick Cave & The Bad Seeds, Nick Cave & The Bad Seeds.
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.