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 Egypt and from Lyon.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Philadelphia and Tehran.
I'm losing my edge to the art-school Bremen 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the mellotron 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 Gladiators to the jazz kids.
I played it at the 40 Watt.
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 Franke. All the underground hits.
All Glambeats Corp. tracks. I heard you have a vinyl of every Quando Quango record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a guitar and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The Dead C record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Gun Club,
Larry & the Blue Notes,
The American Breed,
Stockholm Monsters,
Notorious BIG live in Amsterdam,
Ultravox,
Gabor Szabo,
Flipper,
Sonic Youth,
Wighnomy Brothers & Robag Wruhme,
Mandrill,
Todd Terry,
Lou Reed,
The Vogues,
Das Ding,
Pylon,
Avey Tare's Slasher Flicks,
Parry Music,
The Human League,
Severed Heads,
Connie Case,
Tubeway Army,
Excepter,
The Royal Family And The Poor,
Bad Manners,
Underground Resistance,
kango's stein massive,
Slave,
Robert Wyatt,
Magma,
Godley & Creme,
Oblivians,
Unrelated Segments,
Urselle,
the Swans,
Marc Romboy vs. Booka Shade,
The Modern Lovers,
Leonard Cohen,
The Barracudas,
The Durutti Column,
Lalann,
Khruangbin,
Stetsasonic,
Gerry Rafferty,
Cymande,
The Neon Judgement,
Dennis Brown,
Erasure,
Half Japanese,
Amazonics,
Amon Düül,
This Heat,
Justin Hinds & The Dominoes,
Bill Wells,
It's A Beautiful Day,
Lizzy Mercier Descloux,
Röyhkä ja Rättö ja Lehtisalo,
The Raincoats,
Flamin' Groovies,
Dorothy Ashby,
Groovy Waters,
The Selecter,
Vaughan Mason & Crew, Vaughan Mason & Crew, Vaughan Mason & Crew, Vaughan Mason & Crew.
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.