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 Benin and from London.
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 1963 to 1971.
I'm losing my edge.
To all the kids in Tokyo and Mexico City.
I'm losing my edge to the art-school Toronto 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 harpsichord 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 Ultimate Spinach to the punk 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 The Fortunes. All the underground hits.
All Jerry's Kids tracks. I heard you have a vinyl of every The Sound record on German import.
I heard that you have a white label of every seminal punk 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 theremin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a James Chance & The Contortions record.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Unrelated Segments,
H. Thieme,
The Smiths,
The Walker Brothers,
Dual Sessions,
Alice Coltrane,
In Retrospect,
Desert Stars,
Heaven 17,
John Foxx,
The Angels of Light,
Agent Orange,
Sight & Sound,
Throbbing Gristle,
Lungfish,
Suicide,
Avey Tare,
David McCallum,
Buzzcocks,
Wire,
The Divine Comedy,
the Bar-Kays,
Babytalk,
Bobby Womack,
Ultimate Spinach,
Frankie Knuckles,
JFA,
Crime,
Scion,
Yazoo,
Infiniti,
Public Image Ltd.,
The Royal Family And The Poor,
Cameo,
Rahsaan Roland Kirk,
Colin Newman,
Flamin' Groovies,
Avey Tare & Kría Brekkan,
Lalann,
Mars,
Sparks,
Symarip,
Eden Ahbez,
Barrington Levy,
Crash Course in Science,
Black Sheep,
Magazine,
Richard Hell and the Voidoids,
Section 25,
Mandrill,
Alphaville,
Kayak,
One Last Wish,
The Shadows of Knight,
X-102,
Liaisons Dangereuses,
Jerry Gold Smith,
Kauko Röyhkä ja Narttu,
Theoretical Girls,
Junior Murvin,
Gang of Four,
Neil Young,
The Moleskins,
The Motions, The Motions, The Motions, The Motions.
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.