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 Guyana and from Milan.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Bremen and London.
I'm losing my edge to the art-school Lyon 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 theremin 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 The Detroit Cobras to the dance kids.
I played it at the Roxy.
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 Roxette. All the underground hits.
All Robert Wyatt tracks. I heard you have a vinyl of every Nirvana record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a synthesizer and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Max Romeo,
The Moody Blues,
Dawn Penn,
Tropical Tobacco,
Silicon Teens,
The Monochrome Set,
The Toasters,
Half Japanese,
Trumans Water,
X-Ray Spex,
Fluxion,
Letta Mbulu,
Gong,
A Flock of Seagulls,
Idris Muhammad,
Magazine,
Gang Green,
Lafayette Afro Rock Band,
Robert Wyatt,
Marine Girls,
Justin Hinds & The Dominoes,
The Trojans,
Boogie Down Productions,
DNA,
Masters at Work,
Japan,
Excepter,
Gian Franco Pienzio,
Livin' Joy,
Zapp,
The Pop Group,
Blossom Toes,
Main Source,
Scott Walker + Sunn O))),
E-Dancer,
Terrestrial Tones,
Kurtis Blow,
Aswad,
Scratch Acid,
10cc,
Ossler,
Lalo Schifrin,
Louis and Bebe Barron,
Donald Byrd,
Goldenarms,
The Mojo Men,
John Cale,
Fort Wilson Riot,
T.S.O.L.,
Roy Ayers Ubiquity,
The Alarm Clocks,
The Detroit Cobras,
Nick Fraelich,
Animal Collective,
Sunsets and Hearts,
The Dave Clark Five,
Roxette,
The Cowsills,
CMW,
Bob Dylan,
Pharoah Sanders,
Lonnie Liston Smith, Lonnie Liston Smith, Lonnie Liston Smith, Lonnie Liston Smith.
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.