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 United States and from Jakarta.
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 1965 to 1975.
I'm losing my edge.
To all the kids in Shanghai and Mexico City.
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 rhodes sounds with much patience.
I was there when David Bowie 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 Marmalade to the grime kids.
I played it at the Spitz.
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 James White and The Blacks. All the underground hits.
All Organ tracks. I heard you have a vinyl of every Aswad record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a mellotron and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Deepchord record.
I hear that you and your band have sold your guitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ornette Coleman,
The Sonics,
The Blues Magoos,
Grandmaster Flash,
Stiv Bators,
Sarah Menescal,
The Monks,
Whodini,
The Gap Band,
Rites of Spring,
The Motions,
The Fortunes,
Crispy Ambulance,
Aural Exciters,
Sister Nancy,
Joey Negro,
Dorothy Ashby,
The Mummies,
The Star Department,
Gary Puckett & The Union Gap,
Nils Olav,
Wasted Youth,
Sonic Youth,
Erasure,
Sad Lovers and Giants,
10cc,
Rotary Connection,
Brick,
The Associates,
Leonard Cohen,
The Durutti Column,
Pharoah Sanders,
Roger Hodgson,
The Fugs,
Jacob Miller,
Liliput,
Idris Muhammad,
The Names,
Dual Sessions,
World's Most,
FM Einheit,
Judy Mowatt,
Marshall Jefferson,
Model 500,
Lyres,
Strawberry Alarm Clock,
Ice-T,
Monolake,
Rufus Thomas,
Rakim,
Godley & Creme,
The Evens,
Sixth Finger,
Scott Walker + Sunn O))),
Jandek,
48th St. Collective,
Joy Division,
Harpers Bizarre,
Bauhaus,
James White and The Blacks,
Pantytec,
Radiohead, Radiohead, Radiohead, Radiohead.
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.