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 Sweden and from Stockholm.
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 1977.
I'm losing my edge.
To all the kids in Sao Paulo and Edmonton.
I'm losing my edge to the art-school Bologna 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 theremin sounds with much patience.
I was there when Michael McDonald 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 The Barracudas to the dance kids.
I played it at the Troubador.
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 DeepChord presents Echospace. All the underground hits.
All Warren Ellis tracks. I heard you have a vinyl of every World's Most 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 '50s cut and another box set from the '70s.
I hear you're buying a 808 and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Bob Dylan record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scion,
The Tremeloes,
Gastr Del Sol,
Laurel Aitken,
Bob Dylan,
Anthony Braxton,
Lebanon Hanover,
Sad Lovers and Giants,
Kauko Röyhkä ja Narttu,
Pharoah Sanders,
Brand Nubian,
Faust,
The Men They Couldn't Hang,
Nick Cave & The Bad Seeds,
Lakeside,
Bluetip,
Quando Quango,
Gil Scott-Heron & Brian Jackson,
Stereo Dub,
Reagan Youth,
Thee Headcoats,
Accadde A,
June Days,
Hot Snakes,
Siglo XX,
Althea and Donna,
The Knickerbockers,
Drive Like Jehu,
The Grass Roots,
Grandmaster Flash,
Pantaleimon,
Marcia Griffiths,
The Mighty Diamonds,
Rakim,
Barry Ungar,
Don Cherry,
Barbara Tucker,
Maurizio,
Susan Cadogan,
Masters at Work,
Wighnomy Brothers & Robag Wruhme,
Idris Muhammad,
David Axelrod,
June of 44,
Cheater Slicks,
Electric Light Orchestra,
FM Einheit,
The Fire Engines,
Model 500,
MDC,
Jerry Gold Smith,
Desert Stars,
Hardrive,
The Five Americans,
Los Fastidios,
PIL,
Stockholm Monsters,
Mr. Review,
Faraquet,
Notorious BIG live in Amsterdam,
Cluster,
Chrome,
The Gories, The Gories, The Gories, The Gories.
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.