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 Andorra and from Milan.
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 1972.
I'm losing my edge.
To all the kids in Stockholm and Delhi.
I'm losing my edge to the art-school Stockholm 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 Donald Fagen 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 Marine Girls to the funk 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 Happenings. All the underground hits.
All The Slackers tracks. I heard you have a vinyl of every Procol Harum 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 '50s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Echo & the Bunnymen record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Star Department,
Animal Collective,
Wire,
JFA,
Peter Gordon & Love of Life Orchestra,
The Birthday Party,
Ultramagnetic MC's,
Max Romeo,
Agent Orange,
Liaisons Dangereuses,
Scott Walker,
Malaria!,
The Durutti Column,
Lightning Bolt,
Connie Case,
Sad Lovers and Giants,
The Happenings,
Sight & Sound,
Eve St. Jones,
Cal Tjader,
Black Pus,
Ultra Naté,
Zero Boys,
Funkadelic,
The Gories,
Robert Wyatt,
Delon & Dalcan,
Jesper Dahlback,
Althea and Donna,
Jesper Dahlbäck,
X-Ray Spex,
The Gun Club,
Sixth Finger,
Mandrill,
Ossler,
Ronnie Foster,
The Black Dice,
Andrew Ashong & Theo Parrish,
Sex Pistols,
DeepChord presents Echospace,
The Kinks,
Rowland S Howard / Lydia Lunch,
The Detroit Cobras,
Grey Daturas,
Popol Vuh,
Todd Rundgren,
Johnny Clarke,
Spandau Ballet,
Lucky Dragons,
Harpers Bizarre,
Japan,
EPMD,
Glambeats Corp.,
Al Stewart,
The Raincoats,
Terry Callier,
Blancmange,
Lalann,
Graham Central Station,
Crime,
Excepter,
Pole, Pole, Pole, Pole.
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.