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 Andorra 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 1964 to 1978.
I'm losing my edge.
To all the kids in Cairo and Woodstock.
I'm losing my edge to the art-school Manchester 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 synthesizer 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 Infiniti to the funk 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 Last Poets. All the underground hits.
All Dennis Brown tracks. I heard you have a vinyl of every Charles Mingus record on German import.
I heard that you have a white label of every seminal techno 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 an organ and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Camron Feat. Jay Z And Juelz record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lonnie Liston Smith,
Marc Almond,
Mo-Dettes,
Make Up,
Sam Rivers,
Section 25,
Black Moon,
Crooked Eye,
Oppenheimer Analysis,
Fat Boys,
The Monks,
The Raincoats,
Cluster,
Aloha Tigers,
The Five Americans,
Hashim,
The Names,
The Walker Brothers,
Byron Stingily,
The Selecter,
Don Cherry,
The Sound,
Donald Byrd,
John Cale,
the Slits,
Animal Collective,
the Normal,
Bootsy's Rubber Band,
Max Romeo,
a-ha,
Derrick Morgan,
The Index,
Roger Hodgson,
Super Lover Cee & Casanova Rud,
Agitation Free,
Mandrill,
Zero Boys,
Scan 7,
The Move,
New Order,
Deepchord,
Ultra Naté,
Jeff Mills,
Notorious BIG live in Amsterdam,
The Beau Brummels,
The Zeros,
Theoretical Girls,
Reuben Wilson,
The Divine Comedy,
Kerrie Biddell,
Nick Cave & The Bad Seeds,
Ronan,
Maurizio,
Eric B and Rakim,
Marshall Jefferson,
London Community Gospel Choir,
The Toasters,
Absolute Body Control,
Half Japanese,
Alice Coltrane,
Laurel Aitken,
Danielle Patucci,
The Stooges,
The Music Machine, The Music Machine, The Music Machine, The Music Machine.
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.