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 Mexico and from Lagos.
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 1961 to 1973.
I'm losing my edge.
To all the kids in Spokane and Mumbai.
I'm losing my edge to the art-school Edmonton 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 güiro 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 Camouflage to the jazz kids.
I played it at Trash.
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 Negative Approach. All the underground hits.
All Blancmange tracks. I heard you have a vinyl of every Pylon 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 '60s cut and another box set from the '80s.
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 Masters at Work record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Zero Boys,
Strawberry Alarm Clock,
Scan 7,
Sonic Youth,
The Victims,
Delta 5,
The Raincoats,
Kool G Rap & DJ Polo,
Desert Stars,
Cal Tjader,
Hasil Adkins,
The Cosmic Jokers,
Amazonics,
Nils Olav,
The Mojo Men,
Kayak,
Lebanon Hanover,
Dave Gahan,
The Mighty Diamonds,
Heaven 17,
The Blackbyrds,
In Retrospect,
Mary Jane Girls,
Slick Rick,
Teenage Jesus and the Jerks,
Fugazi,
Ultimate Spinach,
Sex Pistols,
Janne Schatter,
Todd Rundgren,
Quando Quango,
Scion,
Royal Trux,
R.M.O.,
The Angels of Light,
Black Moon,
Minny Pops,
The Flesh Eaters,
Groovy Waters,
June Days,
Flash Fearless,
Rowland S Howard / Lydia Lunch,
The Moody Blues,
Byron Stingily,
Rufus Thomas,
Lalo Schifrin,
Junior Murvin,
Lou Christie,
Alphaville,
The Fugs,
The Remains,
The United States of America,
The Pretty Things,
Todd Terry,
Crispy Ambulance,
Danielle Patucci,
LL Cool J,
The Fall,
Howard Jones,
A Certain Ratio,
Bang on a Can All-Stars,
Toni Rubio,
Juan Atkins, Juan Atkins, Juan Atkins, Juan Atkins.
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.