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 Slovenia and from Manila.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1973.
I'm losing my edge.
To all the kids in Mexico City and Jakarta.
I'm losing my edge to the art-school Taipei 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 marimba 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 Half Japanese to the techno 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 Jesper Dahlback. All the underground hits.
All Loose Ends tracks. I heard you have a vinyl of every Gang Gang Dance 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 '80s.
I hear you're buying a chamberlin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Ultra Naté record.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Röyhkä ja Rättö ja Lehtisalo,
Aloha Tigers,
The Mummies,
A Certain Ratio,
Brass Construction,
Lungfish,
Justin Hinds & The Dominoes,
Hardrive,
Kas Product,
The Real Kids,
World's Most,
David McCallum,
Mad Mike,
Joe Smooth,
John Cale,
The Zeros,
The Gun Club,
Faraquet,
Au Pairs,
Fat Boys,
Lizzy Mercier Descloux,
Hoover,
Agitation Free,
Masters at Work,
Faust,
Art Ensemble Of Chicago,
Yazoo,
Echospace,
Andrew Ashong & Theo Parrish,
Urselle,
Kauko Röyhkä ja Narttu,
Negative Approach,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Make Up,
Japan,
Scientists,
Symarip,
Model 500,
Nation of Ulysses,
Livin' Joy,
Gang Gang Dance,
Roxette,
Sun City Girls,
Fear,
Steve Hackett,
Swell Maps,
Essential Logic,
Franke,
Half Japanese,
Roy Ayers,
Unrelated Segments,
Sugar Minott,
Wolf Eyes,
Pole,
Gian Franco Pienzio,
Easy Going,
Lafayette Afro Rock Band,
Niagra,
Major Organ And The Adding Machine,
Sällskapet,
Pharaoh Sanders and the Fire Engines, Pharaoh Sanders and the Fire Engines, Pharaoh Sanders and the Fire Engines, Pharaoh Sanders and the Fire Engines.
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.