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 Gambia and from Johannesburg.
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 1973.
I'm losing my edge.
To all the kids in Jakarta and Paris.
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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the güiro sounds with much patience.
I was there when Michael McDonald 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 Kurtis Blow to the punk kids.
I played it at the Crocodile.
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 Nation of Ulysses. All the underground hits.
All Q and Not U tracks. I heard you have a vinyl of every Groovy Waters 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 '50s cut and another box set from the '70s.
I hear you're buying a spring reverb and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a One Last Wish record.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Supertramp,
Half Japanese,
Heaven 17,
Rekid,
Cybotron,
Lakeside,
Frankie Knuckles,
La Düsseldorf,
Lou Reed & John Cale,
Sparks,
Ultramagnetic MC's,
Man Eating Sloth,
Black Sheep,
The Neon Judgement,
Babytalk,
Johnny Clarke,
Thompson Twins,
Sly & The Family Stone,
Youth Brigade,
Easy Going,
Anthony Braxton,
Marcia Griffiths,
The Monochrome Set,
Captain Beefheart & His Magic Band,
Fluxion,
Arcadia,
Nils Olav,
Marine Girls,
Mandrill,
Sex Pistols,
ABBA,
R.M.O.,
Nation of Ulysses,
Kenny Larkin,
Crispian St. Peters,
Albert Ayler,
Section 25,
the Human League,
Magazine,
Organ,
The Associates,
Talk Talk,
The Doors,
the Germs,
The Grass Roots,
Eric Dolphy,
X-101,
The Mummies,
Davy DMX,
Sixth Finger,
The Pop Group,
Gang Green,
Amon Düül II,
Soft Cell,
Clear Light,
Dennis Brown,
Blake Baxter,
Pulsallama,
Yusef Lateef,
Nas,
Tears for Fears,
Angry Samoans,
Cabaret Voltaire, Cabaret Voltaire, Cabaret Voltaire, Cabaret Voltaire.
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.