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 Stockholm.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Bremen and Jakarta.
I'm losing my edge to the art-school Copenhagen 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 synthesizer sounds with much patience.
I was there when Captain Beefheart 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 Aswad to the rap 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 the Fania All-Stars. All the underground hits.
All Supertramp tracks. I heard you have a vinyl of every Traffic Nightmare record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a harpsichord and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Sällskapet record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bootsy's Rubber Band,
Janne Schatter,
Lakeside,
Bauhaus,
Drive Like Jehu,
Robert Wyatt,
Little Man,
Teenage Jesus and the Jerks,
Nation of Ulysses,
Notorious BIG live in Amsterdam,
The Tremeloes,
Rosa Yemen,
Mr. Review,
New Order,
The Kinks,
the Human League,
Alphaville,
Sugar Minott,
Rod Modell,
Joyce Sims,
the Soft Cell,
Monolake,
The Martian,
Marine Girls,
Tropical Tobacco,
New Age Steppers,
Nick Fraelich,
DJ Style,
Hot Snakes,
The Fire Engines,
The Music Machine,
Guru Guru,
Marvin Gaye,
Suicide,
Derrick Morgan,
The Mojo Men,
D'Angelo,
Maurizio,
Bobby Hutcherson,
Ralphi Rosario,
Al Stewart,
The Human League,
Spoonie Gee,
Ash Ra Tempel,
Stiv Bators,
Liliput,
The Slits,
Masters at Work,
Terrestrial Tones,
Camouflage,
Electric Prunes,
Rites of Spring,
The Raincoats,
Freddie Wadling,
Eric Dolphy,
UT,
Adolescents,
Bobbi Humphrey,
London Community Gospel Choir,
Soul Sonic Force,
Cheater Slicks,
Moss Icon, Moss Icon, Moss Icon, Moss Icon.
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.