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 Gambia and from Paris.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1978.
I'm losing my edge.
To all the kids in Glasgow and Lyon.
I'm losing my edge to the art-school Lagos 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 guitar sounds with much patience.
I was there when David Bowie 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 Newcleus to the rap kids.
I played it at Cafe Wha.
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 Oppenheimer Analysis. All the underground hits.
All Popol Vuh tracks. I heard you have a vinyl of every The Gladiators 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 '50s cut and another box set from the '70s.
I hear you're buying a marimba and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a the Association record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Seeds,
Grey Daturas,
Max Romeo,
Ash Ra Tempel,
The Move,
Ice-T,
Ultravox,
The West Coast Pop Art Experimental Band,
Eddi Front,
Fat Boys,
Robert Görl,
The Cowsills,
Severed Heads,
Bad Manners,
Carl Craig,
Howard Jones,
Japan,
Eve St. Jones,
The Fire Engines,
Buzzcocks,
Gang Starr,
CMW,
The Red Krayola,
Surgeon,
Blossom Toes,
B.T. Express,
Derrick May,
Peter and Kerry,
Kurtis Blow,
Country Teasers,
10cc,
Shoche,
Adolescents,
Moebius,
Bobbi Humphrey,
Stiv Bators,
Icehouse,
Mars,
Eurythmics,
Ajijia Myrayebe,
MC5,
Technova,
Robert Wyatt,
Althea and Donna,
Lakeside,
Franke,
Little Man,
The Jesus and Mary Chain,
Fad Gadget,
The Leaves,
Con Funk Shun,
Judy Mowatt,
Arthur Verocai,
Gastr Del Sol,
New Age Steppers,
Crispy Ambulance,
Jandek,
Moss Icon,
Blancmange,
Lou Reed & John Cale,
Dorothy Ashby,
Ronnie Foster, Ronnie Foster, Ronnie Foster, Ronnie Foster.
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.