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 Estonia and from Madrid.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Bremen and Houston.
I'm losing my edge to the art-school Johannesburg 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 theremin sounds with much patience.
I was there when Tom Verlaine 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 Mars to the techno 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 Fifty Foot Hose. All the underground hits.
All Gichy Dan tracks. I heard you have a vinyl of every D'Angelo record on German import.
I heard that you have a white label of every seminal dance 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 guitar and are throwing your macbook out the window because you want to make something real. You want to make a Cybotron record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hashim,
the Normal,
Darondo,
Joe Finger,
The Remains,
The Jesus and Mary Chain,
Eyeless In Gaza,
Monolake,
Andrew Hill,
Motorama,
Nils Olav,
The Techniques,
Fat Boys,
Sandy B,
The Modern Lovers,
Dawn Penn,
Tubeway Army,
Camouflage,
Cymande,
Aswad,
Prince Buster,
Rakim,
David Axelrod,
The Index,
Toni Rubio,
Pagans,
Johnny Clarke,
Morten Harket,
Mo-Dettes,
Gregory Isaacs,
Kango’s Stein Massive,
Faraquet,
Q and Not U,
E-Dancer,
Pere Ubu,
Suburban Knight,
Rufus Thomas,
Black Pus,
Eli Mardock,
Carl Craig,
Mr. Review,
The Dead C,
Bobby Hutcherson,
Black Moon,
Magma,
Sunsets and Hearts,
Japan,
Desert Stars,
Dennis Brown,
The Stooges,
The Fugs,
Arcadia,
Zapp,
John Coltrane,
The Blackbyrds,
Captain Beefheart & His Magic Band,
Anakelly,
Derrick Morgan,
The Move,
Brothers Johnson, Brothers Johnson, Brothers Johnson, Brothers Johnson.
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.