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 Singapore and from Bremen.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1976.
I'm losing my edge.
To all the kids in Calgary and Lille.
I'm losing my edge to the art-school Tehran 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 synthesizer sounds with much patience.
I was there when Holger Czukay 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 ABC to the techno kids.
I played it at the Troubador.
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 John Coltrane. All the underground hits.
All Josef K tracks. I heard you have a vinyl of every Don Cherry record on German import.
I heard that you have a white label of every seminal rock 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 synthesizer and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Sandy B record.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dorothy Ashby,
The Last Poets,
Electric Light Orchestra,
The Fuzztones,
Aaron Thompson,
Larry & the Blue Notes,
The Human League,
Gang Green,
New Age Steppers,
X-101,
The Move,
Alison Limerick,
Hardrive,
Boogie Down Productions,
Oppenheimer Analysis,
Connie Case,
The Golliwogs,
Siouxsie and the Banshees,
Negative Approach,
The United States of America,
Piero Umiliani,
Boredoms,
Sun Ra,
Can,
Brand Nubian,
Ronan,
Avey Tare's Slasher Flicks,
Blancmange,
Stockholm Monsters,
Quadrant,
Japan,
James Chance & The Contortions,
Gabor Szabo,
Spandau Ballet,
Röyhkä ja Rättö ja Lehtisalo,
the Sonics,
Marc Almond,
Kenny Larkin,
Second Layer,
The Five Americans,
The Sound,
The Searchers,
Sun Ra Arkestra,
Dual Sessions,
Magma,
David Bowie,
Fela Kuti,
Gil Scott-Heron and Jamie xx,
Sticky Fingaz feat. Raekwon,
Yusef Lateef,
The Sonics,
In Retrospect,
Lindisfarne,
Red Lorry Yellow Lorry,
The Saints,
Teenage Jesus and the Jerks,
Manfred Mann's Earth Band,
Colin Newman,
Donny Hathaway,
Jesper Dahlback,
Todd Rundgren,
Crime,
Cabaret Voltaire, Cabaret Voltaire, Cabaret Voltaire, Cabaret Voltaire.
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.