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 Australia and from Portland.
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 1965 to 1973.
I'm losing my edge.
To all the kids in Johannesburg and Shanghai.
I'm losing my edge to the art-school Sao Paulo 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 marimba sounds with much patience.
I was there when Captain Beefheart 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 Rapeman to the punk kids.
I played it at the Troubador.
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 Rowland S Howard / Lydia Lunch. All the underground hits.
All Main Source tracks. I heard you have a vinyl of every Charles Mingus record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a rhodes and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Brand Nubian record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lyres,
Byron Stingily,
U.S. Maple,
Pylon,
Young Marble Giants,
Carl Craig,
In Retrospect,
Aswad,
Louis and Bebe Barron,
Notorious BIG live in Amsterdam,
Tomorrow,
Vaughan Mason & Crew,
Fat Boys,
Leonard Cohen,
Dr. Dre and Snoop Doggy Dog,
Chris & Cosey,
Jeru the Damaja,
DNA,
Fort Wilson Riot,
Monks,
Altered Images,
Roxette,
Ultramagnetic MC's,
Robert Görl,
Icehouse,
Cluster,
Big Daddy Kane,
the Human League,
The Cramps,
Niagra,
Unrelated Segments,
Guru Guru,
Nas,
Public Enemy,
Yellowson,
The Seeds,
Deadbeat,
Grandmaster Flash and the Furious Five,
Michelle Simonal,
Blancmange,
Masters at Work,
EPMD,
F. McDonald,
Eric Copeland,
Eric Dolphy,
Unwound,
Ponytail,
Whodini,
Lalo Schifrin,
Graham Central Station,
Pere Ubu,
Negative Approach,
Lafayette Afro Rock Band,
Glambeats Corp.,
The Human League,
Lucky Dragons,
Charles Mingus,
Avey Tare & Kría Brekkan,
Howard Jones,
Sad Lovers and Giants,
Minutemen,
The Evens, The Evens, The Evens, The Evens.
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.