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 Brunei and from Lagos.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1964 to 1978.
I'm losing my edge.
To all the kids in Salvador and Winnipeg.
I'm losing my edge to the art-school Lyon 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 synthesizer 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 Kauko Röyhkä ja Narttu to the disco kids.
I played it at the Crocodile.
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 Pantytec. All the underground hits.
All Lebanon Hanover tracks. I heard you have a vinyl of every Girls At Our Best! 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 '60s cut and another box set from the '90s.
I hear you're buying an oboe and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Tears for Fears record.
I hear that you and your band have sold your sitar and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soft Machine,
Yaz,
D'Angelo,
Robert Wyatt,
10cc,
Bush Tetras,
Joey Negro,
June Days,
The United States of America,
The Grass Roots,
Icehouse,
Frankie Knuckles,
The Fall,
Curtis Mayfield,
Lou Christie,
Byron Stingily,
Lee Hazlewood,
The Dirtbombs,
Rapeman,
The Gap Band,
Minutemen,
Unwound,
Albert Ayler,
Pantytec,
Harpers Bizarre,
Kerrie Biddell,
Camron Feat. Memphis Bleek And Beenie Seigel,
MC5,
the Soft Cell,
New Age Steppers,
CMW,
Moss Icon,
Jacques Brel,
John Foxx,
Marshall Jefferson,
John Holt,
Urselle,
Jerry Gold Smith,
Jesper Dahlbäck,
Gil Scott-Heron & Brian Jackson,
Siouxsie and the Banshees,
The American Breed,
Tommy Roe,
Unrelated Segments,
Gang Gang Dance,
The Monochrome Set,
ABC,
The New Christs,
Magazine,
Althea and Donna,
Cluster,
The Red Krayola,
Drive Like Jehu,
Spandau Ballet,
Rahsaan Roland Kirk,
Magma,
The Mummies,
Harmonia,
Desert Stars,
Swell Maps,
It's A Beautiful Day,
Idris Muhammad,
The Smoke,
Beasts of Bourbon, Beasts of Bourbon, Beasts of Bourbon, Beasts of Bourbon.
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.