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 Niger and from Columbus.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1963 to 1972.
I'm losing my edge.
To all the kids in Halifax and Woodstock.
I'm losing my edge to the art-school Mumbai 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 arpeggiator 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 The Sound to the techno 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 Kenny Larkin. All the underground hits.
All World's Most tracks. I heard you have a vinyl of every Arcadia record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a clarinet and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Can record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Invisible,
Mission of Burma,
Lee Hazlewood,
Kayak,
Fluxion,
The Barracudas,
Whodini,
Curtis Mayfield,
Captain Beefheart & His Magic Band,
Soft Cell,
John Coltrane,
Trumans Water,
Mr. Review,
Sugar Minott,
Kaleidoscope,
Television,
Drexciya,
The Divine Comedy,
Jesper Dahlback,
New Order,
Albert Ayler,
Peter Gordon & Love of Life Orchestra,
Pierre Henry,
Fear,
The Grass Roots,
Crash Course in Science,
The Electric Prunes,
Aswad,
The Dead C,
Popol Vuh,
Wally Richardson,
Max Romeo,
The Doors,
Newcleus,
Maurizio,
Gong,
Bang on a Can All-Stars,
Barrington Levy,
Neil Young,
World's Most,
JFA,
Cheater Slicks,
Rowland S Howard / Lydia Lunch,
DJ Sneak,
The Mojo Men,
De La Soul & Jungle Brothers,
Michelle Simonal,
It's A Beautiful Day,
Ultravox,
Outsiders,
Sarah Menescal,
Dorothy Ashby,
Ash Ra Tempel,
R.M.O.,
Fela Kuti,
Television Personalities,
Josef K,
The J.B.'s,
Fugazi,
Arcadia,
The Selecter,
Drive Like Jehu,
Lungfish, Lungfish, Lungfish, Lungfish.
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.