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 Malta and from Shanghai.
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 1962 to 1973.
I'm losing my edge.
To all the kids in Philadelphia and Edmonton.
I'm losing my edge to the art-school Taipei 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 snare sounds with much patience.
I was there when Tom Verlaine 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 Deutsch Amerikanische Freundschaft to the jazz kids.
I played it at the Astoria.
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 Scientists. All the underground hits.
All Lindisfarne tracks. I heard you have a vinyl of every Black Pus record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying an organ and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Inner City record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Model 500,
Marc Romboy vs. Booka Shade,
Amon Düül,
Kenny Larkin,
Magazine,
Minor Threat,
Bobby Womack,
Black Moon,
Strawberry Alarm Clock,
Smog,
Bad Manners,
Kayak,
Glenn Branca,
Animal Collective,
Nils Olav,
Archie Shepp,
Banda Bassotti,
Yaz,
Procol Harum,
AZ,
Aloha Tigers,
Sun City Girls,
Visionaries,LMNO, T- Love & Iriscience,
The Fugs,
Matthew Halsall,
the Association,
Ludus,
UT,
the Bar-Kays,
Ponytail,
Can,
Johnny Osbourne,
Dorothy Ashby,
Whodini,
Quando Quango,
Marshall Jefferson,
Tropical Tobacco,
Josef K,
The New Christs,
Heaven 17,
U.S. Maple,
Roxy Music,
The Birthday Party,
Wolf Eyes,
Inner City,
The Associates,
Malaria!,
Cabaret Voltaire,
Visage,
Nik Kershaw,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Duran Duran,
Hashim,
Lebanon Hanover,
John Cale,
Absolute Body Control,
Groovy Waters,
David Axelrod,
Suburban Knight,
Adolescents,
Y Pants,
Pet Shop Boys, Pet Shop Boys, Pet Shop Boys, Pet Shop Boys.
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.