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 Tonga and from Portland.
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 1967 to 1975.
I'm losing my edge.
To all the kids in Johannesburg and Manila.
I'm losing my edge to the art-school New York 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 Can practice in a loft in Cologne.
I was working on the synthesizer 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 Scratch Acid to the dance 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 Soulsonic Force. All the underground hits.
All Gang Gang Dance tracks. I heard you have a vinyl of every John Holt 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 '70s cut and another box set from the '70s.
I hear you're buying a theremin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Marine Girls record.
I hear that you and your band have sold your organ and bought a sitar.
I hear that you and your band have sold your sitar and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Michelle Simonal,
Jawbox,
Technova,
Ten City,
10cc,
Porter Ricks,
Public Enemy,
Delon & Dalcan,
Pantytec,
Jerry's Kids,
Fela Kuti,
The Busters,
Lalo Schifrin,
The Moleskins,
the Human League,
Bronski Beat,
The American Breed,
Sällskapet,
Gong,
Agent Orange,
Roy Ayers,
The Flesh Eaters,
Con Funk Shun,
Electric Light Orchestra,
Rites of Spring,
The Index,
Royal Trux,
Grandmaster Flash and the Furious Five,
Dennis Brown,
Derrick May,
Delta 5,
Marvin Gaye,
Japan,
Rekid,
Johnny Osbourne,
These Immortal Souls,
Eli Mardock,
Qualms,
Circle Jerks,
Unrelated Segments,
Surgeon,
The Music Machine,
The Associates,
Babytalk,
Metal Thangz,
Tim Buckley,
Anakelly,
F. McDonald,
The United States of America,
In Retrospect,
The Mojo Men,
Sister Nancy,
Mark Hollis,
Faraquet,
The Count Five,
Public Image Ltd.,
The Detroit Cobras,
Newcleus,
Liliput,
Drexciya,
Slave,
The Monochrome Set, The Monochrome Set, The Monochrome Set, The Monochrome Set.
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.