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 Barbados and from Manchester.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Spokane and Glasgow.
I'm losing my edge to the art-school Milan 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 oboe 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 Hashim to the electroclash kids.
I played it at the Spitz.
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 Ultramagnetic MC's. All the underground hits.
All Robert Görl tracks. I heard you have a vinyl of every The United States of America 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 '70s cut and another box set from the '80s.
I hear you're buying a guitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Johnny Osbourne record.
I hear that you and your band have sold your snare and bought a marimba.
I hear that you and your band have sold your marimba and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sun Ra Arkestra,
Deepchord,
cv313,
Reagan Youth,
The Tremeloes,
Chrome,
Khruangbin,
The Fall,
Ultravox,
The Durutti Column,
Fort Wilson Riot,
Gang Gang Dance,
The Saints,
Icehouse,
Terrestrial Tones,
Michelle Simonal,
Ohio Players,
Circle Jerks,
Ultra Naté,
JFA,
Andrew Ashong & Theo Parrish,
Qualms,
Unwound,
Talk Talk,
Peter and Kerry,
Pantytec,
Funky Four + One,
The Doobie Brothers,
Hoover,
The Gap Band,
Oneida,
L. Decosne,
Peter & Gordon,
Fugazi,
Avey Tare & Kría Brekkan,
The Birthday Party,
June Days,
Wolf Eyes,
Gian Franco Pienzio,
The Zeros,
Bauhaus,
Subhumans,
Au Pairs,
Funkadelic,
Monks,
Chris Corsano,
Sandy B,
Mo-Dettes,
Albert Ayler,
Japan,
Depeche Mode,
Electric Prunes,
Liaisons Dangereuses,
Alice Coltrane,
Silicon Teens,
The Beau Brummels,
The Doors,
The United States of America,
Neil Young,
Neil Young & Crazy Horse,
Althea and Donna, Althea and Donna, Althea and Donna, Althea and Donna.
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.