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 Iran and from Woodstock.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Madrid and Johannesburg.
I'm losing my edge to the art-school Woodstock 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 linndrum 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 Jesper Dahlbäck to the jazz kids.
I played it at the Astoria.
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 Dennis Brown. All the underground hits.
All Nick Cave & The Bad Seeds tracks. I heard you have a vinyl of every Depeche Mode record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying an oboe and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Susan Cadogan record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Laurel Aitken,
Kauko Röyhkä ja Narttu,
Crispian St. Peters,
John Holt,
Ohio Players,
Camron Feat. Jay Z And Juelz,
The Beau Brummels,
The Cosmic Jokers,
Matthew Halsall,
AZ,
Urselle,
The Saints,
Jacques Brel,
Monolake,
Kerrie Biddell,
Cybotron,
Khruangbin,
Hoover,
Black Flag,
Hot Snakes,
Red Lorry Yellow Lorry,
Moby Grape,
The Red Krayola,
Pierre Henry,
Robert Görl,
The Barracudas,
Royal Trux,
The Victims,
Henry Cow,
Wire,
Ponytail,
Glambeats Corp.,
E-Dancer,
Alphaville,
Mars,
La Düsseldorf,
ABC,
Fatback Band,
Man Parrish,
Ossler,
Bill Wells,
The Flesh Eaters,
Gil Scott-Heron & Brian Jackson,
Traffic Nightmare,
Jeru the Damaja,
Essential Logic,
The Busters,
Bob Dylan,
Flamin' Groovies,
The Fire Engines,
The Moleskins,
Public Image Ltd.,
Thinking Fellers Union Local 282,
The Dave Clark Five,
Soulsonic Force,
Thee Headcoats,
Goldenarms,
Nik Kershaw,
Minny Pops,
Alison Limerick,
Gerry Rafferty,
Camberwell Now,
Lyres,
Strawberry Alarm Clock, Strawberry Alarm Clock, Strawberry Alarm Clock, Strawberry Alarm Clock.
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.