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 Samoa and from Hong Kong.
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 1964 to 1979.
I'm losing my edge.
To all the kids in New York and Portland.
I'm losing my edge to the art-school Shanghai 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 mellotron sounds with much patience.
I was there when Robert Palmer 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 Mars to the punk 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 Neil Young & Crazy Horse. All the underground hits.
All Siglo XX tracks. I heard you have a vinyl of every Model 500 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 '70s.
I hear you're buying a chamberlin and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Derrick Morgan record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Main Source,
Little Man,
Au Pairs,
Ken Boothe,
Godley & Creme,
Chrome,
Malaria!,
Sad Lovers and Giants,
the Germs,
Gerry Rafferty,
The Pretty Things,
Crispian St. Peters,
The Saints,
The Slackers,
Kerri Chandler,
The Standells,
Can,
Scott Walker + Sunn O))),
Arthur Verocai,
Pylon,
Gary Puckett & The Union Gap,
Lee Hazlewood,
Lightning Bolt,
Black Sheep,
The Sisters of Mercy,
Bill Near,
Anthony Braxton,
Monks,
Sonic Youth,
Minnie Riperton,
Pere Ubu,
The Motions,
Moby Grape,
Nation of Ulysses,
La Düsseldorf,
The Doors,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
ABBA,
Pierre Henry,
Ultramagnetic MC's,
Isaac Hayes,
Rhythim Is Rhythim,
Wally Richardson,
LL Cool J,
Marc Almond,
Johnny Clarke,
Electric Prunes,
Pete Rock & C.L. Smooth,
The Residents,
X-102,
The Fire Engines,
Zero Boys,
Man Parrish,
Gichy Dan,
Tom Boy,
Thompson Twins,
The Vogues,
Tim Buckley,
The Chocolate Watch Band,
Swell Maps,
John Foxx,
Nils Olav, Nils Olav, Nils Olav, Nils Olav.
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.