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 Taiwan and from Seoul.
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 1968 to 1974.
I'm losing my edge.
To all the kids in London and Portland.
I'm losing my edge to the art-school Shanghai 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 arpeggiator sounds with much patience.
I was there when Lou Reed 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 Vladislav Delay to the disco kids.
I played it at the Troubador.
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 Black Moon. All the underground hits.
All Freddie Wadling tracks. I heard you have a vinyl of every Roy Ayers 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 '50s cut and another box set from the '70s.
I hear you're buying a rhodes and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Camberwell Now record.
I hear that you and your band have sold your linndrum and bought a theremin.
I hear that you and your band have sold your theremin and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Half Japanese,
The West Coast Pop Art Experimental Band,
Fifty Foot Hose,
The Litter,
The Count Five,
Be Bop Deluxe,
The Index,
Rotary Connection,
Stockholm Monsters,
Young Marble Giants,
Derrick May,
Essential Logic,
Morten Harket,
Nick Fraelich,
Wings,
Easy Going,
Anthony Braxton,
Deakin,
Pantytec,
Gil Scott Heron,
Amon Düül II,
Throbbing Gristle,
Ash Ra Tempel,
Brothers Johnson,
The Pretty Things,
Black Pus,
Vainqueur,
Roger Hodgson,
Alice Coltrane,
Electric Light Orchestra,
Todd Rundgren,
Pole,
Peter and Kerry,
The Seeds,
Porter Ricks,
Joe Smooth,
Angels of Light & Akron/Family,
Radiohead,
Barbara Tucker,
L. Decosne,
The Gap Band,
James Chance & The Contortions,
Urselle,
John Foxx,
Andrew Ashong & Theo Parrish,
Visionaries,LMNO, T- Love & Iriscience,
Lindisfarne,
The Saints,
Captain Beefheart & His Magic Band,
Roy Ayers Ubiquity,
Lungfish,
Byron Stingily,
Maleditus Sound,
Fatback Band,
John Lydon,
Cheater Slicks,
cv313,
The New Christs,
John Holt,
Pylon,
B.T. Express,
New York Dolls, New York Dolls, New York Dolls, New York Dolls.
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.