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 Senegal and from Tokyo.
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 1962 to 1971.
I'm losing my edge.
To all the kids in Paris and Toronto.
I'm losing my edge to the art-school London 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 arpeggiator 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 Bobby Hutcherson to the grime kids.
I played it at the Astoria.
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 Black Bananas. All the underground hits.
All Hardrive tracks. I heard you have a vinyl of every Faust record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a sitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Magazine record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer 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 Blackbyrds,
Kenny Larkin,
Fifty Foot Hose,
Camouflage,
The Music Machine,
Siglo XX,
Interpol,
K-Klass,
Magma,
Robert Hood,
The Star Department,
Porter Ricks,
Larry & the Blue Notes,
Deepchord,
Janne Schatter,
Eyeless In Gaza,
Mission of Burma,
The Toasters,
Lonnie Liston Smith,
the Bar-Kays,
the Swans,
The Chocolate Watch Band,
Grandmaster Flash,
New Order,
Japan,
Röyhkä ja Rättö ja Lehtisalo,
Sandy B,
Supertramp,
Fatback Band,
Sexual Harrassment,
Kerrie Biddell,
The Remains,
the Association,
X-101,
Drexciya,
KRS-One,
Bauhaus,
Susan Cadogan,
Marc Romboy vs. Booka Shade,
Ultimate Spinach,
The J.B.'s,
Selector Dub Narcotic,
Gregory Isaacs,
David McCallum,
The Residents,
Simply Red,
Dr. Dre and Snoop Doggy Dog,
ABC,
The Techniques,
Khruangbin,
Fugazi,
Jesper Dahlbäck,
Echo & the Bunnymen,
Maurizio,
The Tremeloes,
Tubeway Army,
Joensuu 1685,
Minutemen,
The Fuzztones,
Carl Craig,
The Index,
Warren Ellis,
Eli Mardock, Eli Mardock, Eli Mardock, Eli Mardock.
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.