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 Georgia and from Philadelphia.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Lille and Mexico City.
I'm losing my edge to the art-school Winnipeg 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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the synthesizer sounds with much patience.
I was there when Lou Reed 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 grime kids.
I played it at Trash.
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 Iggy Pop. All the underground hits.
All Graham Central Station tracks. I heard you have a vinyl of every Gregory Isaacs record on German import.
I heard that you have a white label of every seminal funk 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 theremin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Subhumans record.
I hear that you and your band have sold your harpsichord and bought a guitar.
I hear that you and your band have sold your guitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pantytec,
Simply Red,
Cecil Taylor,
Angry Samoans,
Lafayette Afro Rock Band,
Joy Division,
John Lydon,
Yaz,
The Motions,
London Community Gospel Choir,
Johnny Osbourne,
Rufus Thomas,
Sam Rivers,
Heaven 17,
the Fania All-Stars,
Masters at Work,
T. Rex,
Art Ensemble Of Chicago,
Minnie Riperton,
Nik Kershaw,
Tears for Fears,
Marc Almond,
The Smiths,
Rosa Yemen,
Boogie Down Productions,
Ash Ra Tempel,
Selector Dub Narcotic,
Roy Ayers Ubiquity,
Von Mondo,
Delon & Dalcan,
Letta Mbulu,
In Retrospect,
Easy Going,
Steve Hackett,
The Pop Group,
The Fugs,
Bang On A Can,
Soul II Soul,
The Sisters of Mercy,
Youth Brigade,
The Neon Judgement,
The Raincoats,
Ultravox,
Rapeman,
Malaria!,
Scion,
Robert Görl,
Thee Headcoats,
Sound Behaviour,
Marcia Griffiths,
Sällskapet,
Avey Tare & Kría Brekkan,
Essential Logic,
Eric Copeland,
Gabor Szabo,
Lightning Bolt,
Wire,
Judy Mowatt,
Cybotron,
Rakim,
DNA,
Lakeside, Lakeside, Lakeside, Lakeside.
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.