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 Mongolia and from Edmonton.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Copenhagen and Lille.
I'm losing my edge to the art-school Accra 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 synthesizer sounds with much patience.
I was there when Robert Palmer 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 Funkadelic to the dance kids.
I played it at the Spitz.
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 Sun Ra Arkestra. All the underground hits.
All The Fortunes tracks. I heard you have a vinyl of every Malaria! record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a synthesizer and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Scratch Acid record.
I hear that you and your band have sold your oboe and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Red Krayola,
It's A Beautiful Day,
The Wake,
Guru Guru,
Johnny Osbourne,
Deutsch Amerikanische Freundschaft,
Sad Lovers and Giants,
Neu!,
Funkadelic,
Television,
The Remains,
Mo-Dettes,
Alice Coltrane,
Joy Division,
Moby Grape,
Second Layer,
Underground Resistance,
Derrick Morgan,
Sun Ra Arkestra,
Jacob Miller,
Warsaw,
Main Source,
Ash Ra Tempel,
Alison Limerick,
Cabaret Voltaire,
Bootsy Collins,
Rufus Thomas,
Yusef Lateef,
Cluster,
The Moleskins,
Dual Sessions,
Gil Scott Heron,
Nils Olav,
Buzzcocks,
Boogie Down Productions,
Mr. Review,
Jawbox,
The Fuzztones,
Rosa Yemen,
The American Breed,
Quando Quango,
John Cale,
Janne Schatter,
Scion,
A Certain Ratio,
X-Ray Spex,
Morten Harket,
Nik Kershaw,
Banda Bassotti,
Nick Cave & The Bad Seeds,
The Blues Magoos,
One Last Wish,
Pharoah Sanders,
Marcia Griffiths,
Massinfluence,
Pantaleimon,
Severed Heads,
Audionom,
L. Decosne,
Godley & Creme,
Eric B and Rakim,
Gastr Del Sol, Gastr Del Sol, Gastr Del Sol, Gastr Del Sol.
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.