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 Senegal and from Taipei.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Glasgow and Copenhagen.
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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the güiro sounds with much patience.
I was there when Michael McDonald 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 Mo-Dettes to the techno kids.
I played it at the Roxy.
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 Audionom. All the underground hits.
All Cluster tracks. I heard you have a vinyl of every Lou Reed record on German import.
I heard that you have a white label of every seminal jazz 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 mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Mandrill 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?
New York Dolls,
Kenny Larkin,
the Germs,
Tom Boy,
Andrew Hill,
Matthew Halsall,
Steve Hackett,
Mo-Dettes,
Organ,
The Birthday Party,
Jerry Gold Smith,
Cheater Slicks,
Morten Harket,
These Immortal Souls,
Dorothy Ashby,
Ultravox,
Jacob Miller,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Blake Baxter,
Sister Nancy,
Reuben Wilson,
Beasts of Bourbon,
Tropical Tobacco,
The Buckinghams,
The Move,
Supertramp,
Juan Atkins,
The Evens,
Yellowson,
The Mojo Men,
Howard Jones,
The J.B.'s,
Al Stewart,
Qualms,
Surgeon,
The Tremeloes,
The Alarm Clocks,
Nico,
Eyeless In Gaza,
Amon Düül,
The Doobie Brothers,
The Beau Brummels,
Throbbing Gristle,
Connie Case,
Ohio Players,
Bad Manners,
JFA,
DJ Sneak,
Sexual Harrassment,
Hasil Adkins,
Icehouse,
Trumans Water,
James Chance & The Contortions,
Warren Ellis,
The Dirtbombs,
In Retrospect,
UT,
the Soft Cell,
The Trojans,
Judy Mowatt,
Wighnomy Brothers & Robag Wruhme,
Suicide,
Hashim,
Arthur Verocai, Arthur Verocai, Arthur Verocai, Arthur Verocai.
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.