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 Kuwait 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 1968 to 1974.
I'm losing my edge.
To all the kids in Salvador and Bologna.
I'm losing my edge to the art-school Taipei 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 Nile Rodgers 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 The Standells to the jazz kids.
I played it at CBGB's.
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 Pylon. All the underground hits.
All a-ha tracks. I heard you have a vinyl of every Slick Rick record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a marimba and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Unwound record.
I hear that you and your band have sold your linndrum and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Associates,
Dave Gahan,
The Evens,
The Motions,
Selector Dub Narcotic,
Todd Terry,
Surgeon,
Peter and Kerry,
David McCallum,
Curtis Mayfield,
Flash Fearless,
Qualms,
Wolf Eyes,
Nas,
The Slits,
Glambeats Corp.,
Pantaleimon,
Manfred Mann's Earth Band,
Malaria!,
The Blackbyrds,
Ultravox,
Terror Squad Feat. Camron,
Sonny Sharrock,
Rekid,
Gastr Del Sol,
Eric Dolphy,
Byron Stingily,
Lee Hazlewood,
Black Sheep,
Todd Rundgren,
Amon Düül II,
The Gap Band,
Pete Rock & C.L. Smooth,
Faust,
Sex Pistols,
Quantec,
Bang on a Can All-Stars,
Sly & The Family Stone,
The Detroit Cobras,
Bauhaus,
Beasts of Bourbon,
The Cramps,
Gil Scott-Heron & Brian Jackson,
The Gun Club,
Liaisons Dangereuses,
Tres Demented,
Blancmange,
Siouxsie and the Banshees,
The Dave Clark Five,
Stetsasonic,
The Blues Magoos,
Gil Scott-Heron and Jamie xx,
Sarah Menescal,
Bronski Beat,
Maleditus Sound,
Ash Ra Tempel,
Pierre Henry,
Kauko Röyhkä ja Narttu,
Red Lorry Yellow Lorry,
Agent Orange,
Marshall Jefferson,
The Monks,
Chris & Cosey,
Hoover, Hoover, Hoover, Hoover.
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.