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 Bulgaria and from Spokane.
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 1969 to 1974.
I'm losing my edge.
To all the kids in Paris and Delhi.
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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the chamberlin 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 Jimmy McGriff to the jazz 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 Nas. All the underground hits.
All Model 500 tracks. I heard you have a vinyl of every Kevin Saunderson record on German import.
I heard that you have a white label of every seminal punk 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 chamberlin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Basic Channel record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wolf Eyes,
Man Parrish,
The Residents,
Gichy Dan,
Glambeats Corp.,
Kool G Rap & DJ Polo,
The West Coast Pop Art Experimental Band,
Graham Central Station,
Q and Not U,
The Fire Engines,
The Wake,
The Dirtbombs,
Roy Ayers,
Reagan Youth,
Fat Boys,
Joy Division,
Skarface,
Barclay James Harvest,
Country Joe & The Fish,
Technova,
Davy DMX,
Sugar Minott,
L. Decosne,
Throbbing Gristle,
De La Soul & Jungle Brothers,
Pulsallama,
Rowland S Howard / Lydia Lunch,
Amon Düül,
Skaos,
Juan Atkins,
Nas,
Second Layer,
Bill Wells,
The Moleskins,
Bang On A Can,
The Gap Band,
Dr. Dre and Snoop Doggy Dog,
Scion,
Nick Cave & The Bad Seeds,
Teenage Jesus and the Jerks,
The Music Machine,
Severed Heads,
Yaz,
H. Thieme,
The Barracudas,
Minnie Riperton,
Rakim,
Gary Puckett & The Union Gap,
John Holt,
Monolake,
Scratch Acid,
Blossom Toes,
Bill Near,
Marc Almond,
The American Breed,
Amon Düül II,
Soul II Soul,
Cal Tjader,
The Moody Blues,
Mandrill,
Kerri Chandler,
Judy Mowatt, Judy Mowatt, Judy Mowatt, Judy Mowatt.
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.