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 Serbia and from Portland.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1962 to 1970.
I'm losing my edge.
To all the kids in Winnipeg and Salvador.
I'm losing my edge to the art-school Johannesburg 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 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 Negative Approach to the disco 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 Robert Hood. All the underground hits.
All The Dirtbombs tracks. I heard you have a vinyl of every Lindisfarne record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a synthesizer and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Oblivians record.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Traffic Nightmare,
DeepChord presents Echospace,
The Skatalites,
Das Ding,
The Sisters of Mercy,
E-Dancer,
The Pop Group,
The Durutti Column,
Jacques Brel,
Faust,
Popol Vuh,
Harpers Bizarre,
Marine Girls,
Joyce Sims,
The Real Kids,
T. Rex,
Nation of Ulysses,
Howard Jones,
Circle Jerks,
Lafayette Afro Rock Band,
Brand Nubian,
Eyeless In Gaza,
Joensuu 1685,
Rufus Thomas,
John Lydon,
Eurythmics,
The Barracudas,
Nick Cave & The Bad Seeds,
Young Marble Giants,
Isaac Hayes,
John Holt,
New Order,
Rekid,
Suburban Knight,
Man Eating Sloth,
Peter and Kerry,
Supertramp,
Boredoms,
Roxy Music,
Jesper Dahlbäck,
Lou Reed,
The Moody Blues,
Marshall Jefferson,
Colin Newman,
Scott Walker,
Scratch Acid,
Sarah Menescal,
Guru Guru,
Roger Hodgson,
FM Einheit,
The Young Rascals,
Judy Mowatt,
Donald Byrd,
kango's stein massive,
Absolute Body Control,
Theoretical Girls,
Minny Pops,
Soft Cell,
KRS-One,
Rhythm & Sound,
Bobby Womack, Bobby Womack, Bobby Womack, Bobby Womack.
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.