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 Panama and from London.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Lille and New York.
I'm losing my edge to the art-school Winnipeg 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 linndrum sounds with much patience.
I was there when Michael McDonald 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 Masters at Work to the grime 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 Black Bananas. All the underground hits.
All Pharaoh Sanders and the Fire Engines tracks. I heard you have a vinyl of every Ultimate Spinach record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a 808 and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Pulsallama record.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Flipper,
Underground Resistance,
The Fuzztones,
Patti Smith,
Roy Ayers,
The Modern Lovers,
Cluster,
U.S. Maple,
Newcleus,
Das Ding,
Roxette,
Bootsy Collins,
Zero Boys,
the Swans,
Bad Manners,
Blake Baxter,
This Heat,
Darondo,
The Mojo Men,
Oblivians,
Avey Tare's Slasher Flicks,
Circle Jerks,
The Alarm Clocks,
Sister Nancy,
Panda Bear,
The Jesus and Mary Chain,
Infiniti,
Monks,
Marine Girls,
Sandy B,
Radiopuhelimet,
The Cure,
Echospace,
Freddie Wadling,
Gian Franco Pienzio,
Cybotron,
Mars,
Outsiders,
Ultimate Spinach,
Matthew Bourne,
Wasted Youth,
CMW,
Hot Snakes,
Brand Nubian,
Rhythm & Sound,
Soft Cell,
Pharoah Sanders,
Mark Hollis,
The Beau Brummels,
The Blackbyrds,
Black Flag,
Public Enemy,
Grauzone,
Warsaw,
Throbbing Gristle,
The Moody Blues,
Lalo Schifrin,
The Grass Roots,
Franke,
Charles Mingus,
Parry Music,
Alison Limerick,
June Days, June Days, June Days, June Days.
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.