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 Latvia and from Lille.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Taipei and Portland.
I'm losing my edge to the art-school Columbus 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 guitar sounds with much patience.
I was there when Lou Reed 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 Gil Scott-Heron and Jamie xx to the techno kids.
I played it at the Hacienda.
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 Alton Ellis. All the underground hits.
All Groovy Waters tracks. I heard you have a vinyl of every The Remains record on German import.
I heard that you have a white label of every seminal disco 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 organ and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Skriet record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
T. Rex,
Stockholm Monsters,
Sam Rivers,
Sandy B,
Livin' Joy,
a-ha,
Fat Boys,
China Crisis,
Jacques Brel,
Terror Squad Feat. Camron,
Symarip,
The Dirtbombs,
Grauzone,
Mo-Dettes,
R.M.O.,
Eve St. Jones,
Sad Lovers and Giants,
Zapp,
Scratch Acid,
Tommy Roe,
Janne Schatter,
The Standells,
Magazine,
The Angels of Light,
Severed Heads,
Echo & the Bunnymen,
Funkadelic,
Zero Boys,
Crime,
Japan,
The Knickerbockers,
David McCallum,
The Selecter,
Ten City,
the Human League,
Chris & Cosey,
Andrew Hill,
Rhythim Is Rhythim,
The Doors,
Porter Ricks,
Connie Case,
Andrew Ashong & Theo Parrish,
Skaos,
Yusef Lateef,
The Happenings,
John Coltrane,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Lou Reed,
The Cure,
Sly & The Family Stone,
Isaac Hayes,
Kas Product,
Los Fastidios,
Arab on Radar,
Sugar Minott,
Chris Corsano,
Colin Newman,
Cheater Slicks,
Lower 48,
Charles Mingus,
Simply Red, Simply Red, Simply Red, Simply Red.
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.