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 Kiribati and from Salvador.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1963 to 1972.
I'm losing my edge.
To all the kids in Stockholm and Edmonton.
I'm losing my edge to the art-school Delhi 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 spring reverb 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 Section 25 to the grime kids.
I played it at the Roxy.
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 Ice-T. All the underground hits.
All Captain Beefheart & His Magic Band tracks. I heard you have a vinyl of every Agitation Free record on German import.
I heard that you have a white label of every seminal rap 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 theremin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Throbbing Gristle record.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Parry Music,
Ohio Players,
Richard Hell and the Voidoids,
Pagans,
Massinfluence,
Easy Going,
the Slits,
The Dead C,
Godley & Creme,
Bobby Sherman,
Public Image Ltd.,
David Axelrod,
Lebanon Hanover,
Joey Negro,
Gary Puckett & The Union Gap,
Terrestrial Tones,
Andrew Hill,
Jandek,
Max Romeo,
Michelle Simonal,
Rekid,
Gil Scott-Heron & Brian Jackson,
The Grass Roots,
X-102,
Buzzcocks,
Fela Kuti,
The Gap Band,
Major Organ And The Adding Machine,
Freddie Wadling,
Shoche,
Agent Orange,
Mantronix,
Stockholm Monsters,
R.M.O.,
Jerry Gold Smith,
Todd Rundgren,
Soul Sonic Force,
Frankie Knuckles,
Pylon,
Stetsasonic,
Alton Ellis,
Fat Boys,
U.S. Maple,
Oppenheimer Analysis,
Monks,
Gang Green,
Rosa Yemen,
The American Breed,
It's A Beautiful Day,
Althea and Donna,
Black Flag,
The Seeds,
Laurel Aitken,
Clear Light,
The Red Krayola,
Dorothy Ashby,
The Jesus and Mary Chain,
Joe Finger,
The Monks,
The Modern Lovers, The Modern Lovers, The Modern Lovers, The Modern Lovers.
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.