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 Israel and from Edmonton.
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 1964 to 1975.
I'm losing my edge.
To all the kids in Glasgow and Philadelphia.
I'm losing my edge to the art-school Bologna 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 Nile Rodgers 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 Vogues to the grunge 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 Subhumans. All the underground hits.
All Half Japanese tracks. I heard you have a vinyl of every The Jesus and Mary Chain record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a rhodes and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Barracudas record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dark Day,
Severed Heads,
Con Funk Shun,
Todd Terry,
Nick Cave & The Bad Seeds,
Crispian St. Peters,
The Golliwogs,
Sound Behaviour,
Metal Thangz,
Ajijia Myrayebe,
Joyce Sims,
Notorious Big And Bone Thugs,
Los Fastidios,
Lou Reed,
The Mummies,
Sun Ra,
Arab on Radar,
Dennis Brown,
Brand Nubian,
Crooked Eye,
Jacob Miller,
Blossom Toes,
Slave,
Sad Lovers and Giants,
Moss Icon,
Gregory Isaacs,
Stiv Bators,
Japan,
Kenny Larkin,
Index,
Lalann,
Basic Channel,
Camron Feat. Memphis Bleek And Beenie Seigel,
Johnny Osbourne,
Bobby Womack,
Amon Düül,
the Human League,
Kayak,
D'Angelo,
Fort Wilson Riot,
Rahsaan Roland Kirk,
Accadde A,
The Saints,
The Leaves,
Swell Maps,
The Smoke,
Robert Wyatt,
Funkadelic,
The Slits,
Hasil Adkins,
Johnny Clarke,
Cabaret Voltaire,
Minutemen,
The Techniques,
Smog,
Sun City Girls,
Rotary Connection,
Sarah Menescal,
Ken Boothe,
The Royal Family And The Poor,
Lou Christie,
Wire,
Rufus Thomas, Rufus Thomas, Rufus Thomas, Rufus Thomas.
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.