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 Rwanda and from Bremen.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Tehran and Tokyo.
I'm losing my edge to the art-school Johannesburg 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 arpeggiator sounds with much patience.
I was there when Tom Verlaine 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 Art Ensemble Of Chicago to the rock 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 The Happenings. All the underground hits.
All cv313 tracks. I heard you have a vinyl of every Japan 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 '90s.
I hear you're buying a 808 and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Maurizio record.
I hear that you and your band have sold your marimba and bought a sitar.
I hear that you and your band have sold your sitar and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Porter Ricks,
Pete Rock & C.L. Smooth,
Louis and Bebe Barron,
Maleditus Sound,
Siouxsie and the Banshees,
Y Pants,
Trumans Water,
Main Source,
Cameo,
Echo & the Bunnymen,
Blossom Toes,
Minor Threat,
Fort Wilson Riot,
The West Coast Pop Art Experimental Band,
Theoretical Girls,
Q and Not U,
Khruangbin,
Lucky Dragons,
The J.B.'s,
Motorama,
Dual Sessions,
F. McDonald,
Sex Pistols,
Audionom,
Thompson Twins,
Mary Jane Girls,
Sarah Menescal,
DJ Style,
The Smoke,
Girls At Our Best!,
the Soft Cell,
The Blackbyrds,
LL Cool J,
Pantaleimon,
Sexual Harrassment,
Kool Moe Dee,
Kango’s Stein Massive,
The Move,
Brick,
Selector Dub Narcotic,
Kaleidoscope,
Groovy Waters,
Bobby Sherman,
Bronski Beat,
The Techniques,
Amon Düül II,
Circle Jerks,
Boz Scaggs,
Kenny Larkin,
The Modern Lovers,
Sonic Youth,
Arcadia,
The Peanut Butter Conspiracy,
Slave,
The Neon Judgement,
The Chocolate Watch Band,
Swans,
Vaughan Mason & Crew,
Bootsy Collins,
Jacques Brel,
Mantronix,
The Fire Engines,
The Trojans, The Trojans, The Trojans, The Trojans.
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.