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 Botswana and from Johannesburg.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Woodstock and Madrid.
I'm losing my edge to the art-school Mexico City 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 Selda practice in a loft in Istanbul.
I was working on the arpeggiator 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 Delta 5 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 The Standells. All the underground hits.
All Black Moon tracks. I heard you have a vinyl of every Fat Boys record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a clarinet and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Captain Beefheart & His Magic Band record.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear that you and your band have sold your mellotron 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?
The Gap Band,
Selector Dub Narcotic,
Louis and Bebe Barron,
Suicide,
Circle Jerks,
Procol Harum,
Sound Behaviour,
Q65,
Jimmy McGriff,
Q and Not U,
the Slits,
Oppenheimer Analysis,
Wally Richardson,
The Cosmic Jokers,
Andrew Hill,
K-Klass,
Barrington Levy,
Brick,
The Red Krayola,
Pagans,
Althea and Donna,
Mars,
Au Pairs,
Gian Franco Pienzio,
Barclay James Harvest,
48th St. Collective,
Strawberry Alarm Clock,
The Selecter,
Scratch Acid,
Mad Mike,
Joensuu 1685,
Public Enemy,
L. Decosne,
Duran Duran,
Monks,
Gabor Szabo,
Avey Tare & Kría Brekkan,
Lower 48,
The Sound,
Amazonics,
FM Einheit,
EPMD,
Girls At Our Best!,
The Barracudas,
Eddi Front,
Be Bop Deluxe,
Ten City,
Bizarre Inc.,
Drexciya,
Maurizio,
Intrusion,
The West Coast Pop Art Experimental Band,
Roxette,
Joe Finger,
Malaria!,
Manfred Mann's Earth Band,
Thinking Fellers Union Local 282,
Eden Ahbez,
Animal Collective,
Erasure,
The Dead C,
Janne Schatter,
T.S.O.L., T.S.O.L., T.S.O.L., T.S.O.L..
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.