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 St Lucia and from Madrid.
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 1973.
I'm losing my edge.
To all the kids in London and Edmonton.
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 linndrum sounds with much patience.
I was there when Tom Verlaine 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 Outsiders to the electroclash 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 Joensuu 1685. All the underground hits.
All The Fugs tracks. I heard you have a vinyl of every Flipper record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Mummies record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kevin Saunderson,
The Dave Clark Five,
Barrington Levy,
Whodini,
The Blues Magoos,
Jacob Miller,
John Lydon,
Manfred Mann's Earth Band,
Donny Hathaway,
The Beau Brummels,
Dorothy Ashby,
Grandmaster Flash and the Furious Five,
Deutsch Amerikanische Freundschaft,
Sällskapet,
Black Pus,
Kas Product,
Fela Kuti,
Ohio Players,
Sister Nancy,
Amon Düül II,
PIL,
Hot Snakes,
Chris & Cosey,
Inner City,
Quadrant,
Faraquet,
Colin Newman,
Pylon,
Bootsy Collins,
Stereo Dub,
The Happenings,
Excepter,
Masters at Work,
Tropical Tobacco,
Bush Tetras,
Scott Walker,
Thee Headcoats,
The Velvet Underground,
Teenage Jesus and the Jerks,
Bronski Beat,
Lou Christie,
Ultravox,
Animal Collective,
Marvin Gaye,
Marine Girls,
Chrome,
Yusef Lateef,
The Electric Prunes,
Pete Rock & C.L. Smooth,
Godley & Creme,
Skarface,
Agitation Free,
Boogie Down Productions,
Radiopuhelimet,
Blossom Toes,
Au Pairs,
Bauhaus,
Q65,
Carl Craig, Carl Craig, Carl Craig, Carl Craig.
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.