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 Kazakhstan and from Sao Paulo.
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 1963 to 1971.
I'm losing my edge.
To all the kids in Mumbai and Manchester.
I'm losing my edge to the art-school Glasgow 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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the oboe sounds with much patience.
I was there when Nile Rodgers 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 Model 500 to the disco kids.
I played it at the 40 Watt.
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 The Names. All the underground hits.
All Aloha Tigers tracks. I heard you have a vinyl of every Joensuu 1685 record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a spring reverb and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Eyeless In Gaza record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Modern Lovers,
Davy DMX,
Traffic Nightmare,
Banda Bassotti,
T.S.O.L.,
Scratch Acid,
Justin Hinds & The Dominoes,
LL Cool J,
Tropical Tobacco,
Rosa Yemen,
Rahsaan Roland Kirk,
The Fortunes,
Warren Ellis,
Metal Thangz,
La Düsseldorf,
Soft Cell,
Average White Band,
AZ,
Deadbeat,
FM Einheit,
Dorothy Ashby,
The Birthday Party,
Von Mondo,
Young Marble Giants,
Crooked Eye,
Mary Jane Girls,
Aloha Tigers,
Connie Case,
Adolescents,
Ultravox,
Reagan Youth,
Rhythm & Sound,
The Gladiators,
CMW,
Rakim,
Ken Boothe,
Aaron Thompson,
Sun Ra Arkestra,
The Kinks,
JFA,
Notorious Big And Bone Thugs,
Malaria!,
Pole,
Kevin Saunderson,
Alison Limerick,
Captain Beefheart & His Magic Band,
Louis and Bebe Barron,
The Fugs,
Eric B and Rakim,
Sad Lovers and Giants,
Skriet,
The Men They Couldn't Hang,
Lebanon Hanover,
Joy Division,
Super Lover Cee & Casanova Rud,
Morten Harket,
Stetsasonic,
The Move,
the Association,
Graham Central Station, Graham Central Station, Graham Central Station, Graham Central Station.
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.