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 Burundi and from New York.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Calgary and Winnipeg.
I'm losing my edge to the art-school Glasgow 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 1968 at the first Can practice in a loft in Cologne.
I was working on the güiro sounds with much patience.
I was there when Captain Beefheart 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 Roxette to the crunk kids.
I played it at the 40 Watt.
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 Mad Mike. All the underground hits.
All Technova tracks. I heard you have a vinyl of every Pere Ubu record on German import.
I heard that you have a white label of every seminal rap 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 snare and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Star Department record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin 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?
Brand Nubian,
Bob Dylan,
Toni Rubio,
Josef K,
Pagans,
The Victims,
Notorious BIG live in Amsterdam,
Richard Hell and the Voidoids,
Silicon Teens,
The Music Machine,
Harry Pussy,
Malaria!,
Rod Modell,
The Happenings,
Faraquet,
Jimmy McGriff,
the Bar-Kays,
Piero Umiliani,
The Gladiators,
Rites of Spring,
Procol Harum,
The Real Kids,
The Mojo Men,
John Foxx,
Mission of Burma,
The Walker Brothers,
The Cure,
Swell Maps,
The Busters,
Con Funk Shun,
Cal Tjader,
Deutsch Amerikanische Freundschaft,
Dave Gahan,
Amon Düül II,
the Fania All-Stars,
Bobby Womack,
Slick Rick,
MC5,
John Lydon,
Eric B and Rakim,
Lungfish,
Judy Mowatt,
Ultramagnetic MC's,
Sad Lovers and Giants,
OOIOO,
Grauzone,
Intrusion,
Hardrive,
Jacob Miller,
Jandek,
Nas,
Soulsonic Force,
Kayak,
Scratch Acid,
Cameo,
Funkadelic,
Severed Heads,
Man Parrish,
The Young Rascals,
Albert Ayler,
Glenn Branca,
The Chocolate Watch Band,
Althea and Donna,
Parry Music, Parry Music, Parry Music, Parry Music.
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.