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 South Africa and from Woodstock.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1965 to 1976.
I'm losing my edge.
To all the kids in Woodstock and Tokyo.
I'm losing my edge to the art-school Jakarta 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the clarinet sounds with much patience.
I was there when Donald Fagen 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 Misunderstood to the punk kids.
I played it at the Hacienda.
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 The Red Krayola. All the underground hits.
All Sunsets and Hearts tracks. I heard you have a vinyl of every Barry Ungar record on German import.
I heard that you have a white label of every seminal grunge 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 snare and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a World's Most record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer 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?
Captain Beefheart & His Magic Band,
Scan 7,
Cecil Taylor,
Public Enemy,
Sunsets and Hearts,
Visage,
Ajijia Myrayebe,
Rites of Spring,
Fifty Foot Hose,
Stetsasonic,
Orchestral Manoeuvres in the Dark,
Gichy Dan,
The Star Department,
The Sisters of Mercy,
the Sonics,
CMW,
Half Japanese,
F. McDonald,
The Alarm Clocks,
Cameo,
Pulsallama,
the Slits,
Kaleidoscope,
The Barracudas,
Derrick Morgan,
Blake Baxter,
X-Ray Spex,
Althea and Donna,
Nirvana,
Urselle,
Talk Talk,
The Associates,
Ice-T,
Aloha Tigers,
Sun Ra Arkestra,
The Black Dice,
Deakin,
Siglo XX,
The Moleskins,
Pantytec,
Q and Not U,
FM Einheit,
Arab on Radar,
Gil Scott-Heron and Jamie xx,
Brand Nubian,
Mad Mike,
Shoche,
Roxy Music,
A Certain Ratio,
The Gun Club,
The Busters,
Pole,
Pharaoh Sanders and the Fire Engines,
James White and The Blacks,
Rowland S Howard / Lydia Lunch,
Toni Rubio,
A Flock of Seagulls,
Roxette,
Fort Wilson Riot,
Eve St. Jones,
Gregory Isaacs,
Crime, Crime, Crime, Crime.
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.