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 Mali and from Woodstock.
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 1961 to 1971.
I'm losing my edge.
To all the kids in Bremen and Manchester.
I'm losing my edge to the art-school Glasgow 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 theremin sounds with much patience.
I was there when Robert Palmer 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 Todd Terry to the rap 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 Moss Icon. All the underground hits.
All Pantytec tracks. I heard you have a vinyl of every Dorothy Ashby record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a harpsichord and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Brass Construction record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Chrome,
Strawberry Alarm Clock,
Boredoms,
The Motions,
Grey Daturas,
E-Dancer,
Eyeless In Gaza,
Aloha Tigers,
Nation of Ulysses,
Whodini,
The Move,
Yazoo,
DNA,
Ralphi Rosario,
Lalo Schifrin,
Al Stewart,
Moebius,
Stockholm Monsters,
Roger Hodgson,
Siouxsie and the Banshees,
Lindisfarne,
Judy Mowatt,
Mars,
Cecil Taylor,
Unrelated Segments,
Mission of Burma,
the Bar-Kays,
The Five Americans,
Michelle Simonal,
The Monochrome Set,
Hasil Adkins,
Jeff Lynne,
Rhythim Is Rhythim,
Roy Ayers,
The Blackbyrds,
The Remains,
Kool G Rap & DJ Polo,
Avey Tare & Kría Brekkan,
Terrestrial Tones,
Outsiders,
Quando Quango,
Malaria!,
Marc Romboy vs. Booka Shade,
Yellowson,
Andrew Ashong & Theo Parrish,
Ultra Naté,
The Cosmic Jokers,
Lou Reed & John Cale,
Bootsy's Rubber Band,
Saccharine Trust,
Boogie Down Productions,
Electric Light Orchestra,
Eve St. Jones,
The Alarm Clocks,
The Gories,
Soul II Soul,
Rites of Spring,
Jerry's Kids,
Bobbi Humphrey,
June Days,
Teenage Jesus and the Jerks,
The Litter,
The Birthday Party,
Jimmy McGriff, Jimmy McGriff, Jimmy McGriff, Jimmy McGriff.
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.