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 Papua New Guinea and from Philadelphia.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1979.
I'm losing my edge.
To all the kids in Houston and Manila.
I'm losing my edge to the art-school Houston 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 chamberlin 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 Absolute Body Control to the rock 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 Ohio Players. All the underground hits.
All Glambeats Corp. tracks. I heard you have a vinyl of every Nation of Ulysses 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 '50s cut and another box set from the '90s.
I hear you're buying a sitar and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Selecter record.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gang Starr,
Tubeway Army,
Rekid,
Patti Smith,
F. McDonald,
Ultimate Spinach,
Man Eating Sloth,
AZ,
Warsaw,
Pierre Henry,
X-101,
Shuggie Otis,
Althea and Donna,
In Retrospect,
Grauzone,
Ludus,
Roxy Music,
The Doobie Brothers,
Connie Case,
Sunsets and Hearts,
Lonnie Liston Smith,
Altered Images,
The Jesus and Mary Chain,
Barry Ungar,
Janne Schatter,
Ajijia Myrayebe,
The Vogues,
The West Coast Pop Art Experimental Band,
Andrew Ashong & Theo Parrish,
Grey Daturas,
Alton Ellis,
Liliput,
Throbbing Gristle,
Absolute Body Control,
The Martian,
June Days,
Michelle Simonal,
Eli Mardock,
the Swans,
Radiohead,
Sixth Finger,
Yazoo,
Bobby Hutcherson,
Scientists,
Joensuu 1685,
Subhumans,
Graham Central Station,
JFA,
Crime,
Be Bop Deluxe,
cv313,
Desert Stars,
Ossler,
Excepter,
Audionom,
Heavy D & The Boyz,
Organ,
Magma,
The Human League,
Yaz,
The Gories,
Dead Boys,
The Angels of Light, The Angels of Light, The Angels of Light, The Angels of Light.
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.