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 Micronesia and from Tokyo.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1978.
I'm losing my edge.
To all the kids in Copenhagen and Paris.
I'm losing my edge to the art-school Spokane 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 spring reverb 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 Stereo Dub to the dance 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 Livin' Joy. All the underground hits.
All Porter Ricks tracks. I heard you have a vinyl of every Jesper Dahlbäck 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 '70s cut and another box set from the '90s.
I hear you're buying a theremin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Fire Engines record.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fifty Foot Hose,
The American Breed,
a-ha,
Jacques Brel,
Tim Buckley,
Sarah Menescal,
Bobby Hutcherson,
Heaven 17,
The Five Americans,
K-Klass,
Sun Ra Arkestra,
U.S. Maple,
Reuben Wilson,
David Axelrod,
Barclay James Harvest,
Sixth Finger,
Bang On A Can,
Eve St. Jones,
Aloha Tigers,
The Moody Blues,
It's A Beautiful Day,
Lou Christie,
Sällskapet,
Deakin,
Kauko Röyhkä ja Narttu,
Cluster,
The Victims,
Magma,
Scientists,
Gang Green,
Radio Birdman,
Deepchord,
The Dirtbombs,
Urselle,
Echospace,
48th St. Collective,
Avey Tare's Slasher Flicks,
Roy Ayers,
Amon Düül,
Hoover,
The Walker Brothers,
Rufus Thomas,
Visage,
Jerry's Kids,
The Evens,
Iggy Pop,
Yazoo,
Vainqueur,
Electric Prunes,
Ten City,
Ralphi Rosario,
Sunsets and Hearts,
Don Cherry,
Wasted Youth,
Duran Duran,
Black Pus,
Notorious Big And Bone Thugs,
Laurel Aitken,
Lizzy Mercier Descloux,
Crispy Ambulance,
New York Dolls,
Bobbi Humphrey,
T.S.O.L.,
Cecil Taylor, Cecil Taylor, Cecil Taylor, Cecil Taylor.
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.