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 Mexico and from Lagos.
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 1969 to 1973.
I'm losing my edge.
To all the kids in New York and Shanghai.
I'm losing my edge to the art-school Bremen 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 clarinet 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 Anthony Braxton to the electroclash 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 Talk Talk. All the underground hits.
All Jandek tracks. I heard you have a vinyl of every Black Flag record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a guitar and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Absolute Body Control record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
K-Klass,
Minor Threat,
MDC,
Hardrive,
Mantronix,
Pylon,
The Index,
Flamin' Groovies,
Main Source,
Angels of Light & Akron/Family,
Manfred Mann's Earth Band,
Roger Hodgson,
Masters at Work,
Don Cherry,
Outsiders,
F. McDonald,
Crime,
Derrick May,
New Age Steppers,
Electric Light Orchestra,
The Music Machine,
Model 500,
Junior Murvin,
Dead Boys,
Kool G Rap & DJ Polo,
New York Dolls,
Dorothy Ashby,
Kauko Röyhkä ja Narttu,
Dual Sessions,
Suburban Knight,
Girls At Our Best!,
Man Eating Sloth,
Kevin Saunderson,
Siglo XX,
Procol Harum,
The Barracudas,
Aural Exciters,
Matthew Halsall,
Deadbeat,
Gerry Rafferty,
Lou Reed & John Cale,
Scientists,
PIL,
Barclay James Harvest,
Soulsonic Force,
Kerri Chandler,
Jeff Mills,
Supertramp,
Lou Christie,
Jeru the Damaja,
The Sisters of Mercy,
Johnny Osbourne,
Arcadia,
Nick Fraelich,
Harpers Bizarre,
Crash Course in Science,
Graham Central Station,
Black Pus,
Terry Callier,
FM Einheit,
Franke, Franke, Franke, Franke.
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.