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 Ethiopia and from Tokyo.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Bologna and Lille.
I'm losing my edge to the art-school Johannesburg 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 spring reverb sounds with much patience.
I was there when Holger Czukay 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 Happenings to the punk kids.
I played it at the Troubador.
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 Sarah Menescal. All the underground hits.
All Lou Reed & Metallica tracks. I heard you have a vinyl of every Avey Tare record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a synthesizer and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Brick record.
I hear that you and your band have sold your organ and bought a theremin.
I hear that you and your band have sold your theremin and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Sisters of Mercy,
Fat Boys,
Pantaleimon,
Brass Construction,
Tomorrow,
Johnny Clarke,
The Leaves,
Brand Nubian,
Barrington Levy,
The Victims,
Bronski Beat,
Masters at Work,
Warren Ellis,
Juan Atkins,
Country Teasers,
Pylon,
Flash Fearless,
Groovy Waters,
Red Lorry Yellow Lorry,
Rufus Thomas,
The Martian,
Yusef Lateef,
The Busters,
the Fania All-Stars,
Pagans,
Carl Craig,
John Foxx,
Girls At Our Best!,
DJ Sneak,
Agitation Free,
David Axelrod,
Saccharine Trust,
Orchestral Manoeuvres in the Dark,
Liaisons Dangereuses,
Bluetip,
Sonic Youth,
Robert Hood,
The Vogues,
Cecil Taylor,
Letta Mbulu,
Gian Franco Pienzio,
Hardrive,
Lalann,
Heaven 17,
Morten Harket,
Ash Ra Tempel,
Joe Finger,
Sly & The Family Stone,
Harry Pussy,
Althea and Donna,
Todd Terry,
Zapp,
Sun Ra,
Yazoo,
Skarface,
Wolf Eyes,
Blancmange,
Bauhaus,
Ponytail,
Ultramagnetic MC's,
Matthew Bourne,
Soft Cell,
The Residents,
Gil Scott-Heron and Jamie xx, Gil Scott-Heron and Jamie xx, Gil Scott-Heron and Jamie xx, Gil Scott-Heron and Jamie xx.
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.