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 Zambia and from Columbus.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Shanghai and London.
I'm losing my edge to the art-school Delhi 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 808 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 Black Flag to the techno kids.
I played it at Cafe Wha.
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 Monks. All the underground hits.
All Terror Squad Feat. Camron tracks. I heard you have a vinyl of every Ash Ra Tempel record on German import.
I heard that you have a white label of every seminal jazz 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 sitar and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Sound Behaviour record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Maleditus Sound,
The Angels of Light,
Selector Dub Narcotic,
This Heat,
Bobby Hutcherson,
Kenny Larkin,
Tubeway Army,
It's A Beautiful Day,
The Smiths,
Laurel Aitken,
T.S.O.L.,
The Offenders,
Avey Tare's Slasher Flicks,
Sad Lovers and Giants,
Supertramp,
Arcadia,
Tres Demented,
Ultimate Spinach,
Ossler,
Joensuu 1685,
Flash Fearless,
Radiopuhelimet,
X-101,
Robert Görl,
Hardrive,
The Peanut Butter Conspiracy,
Grauzone,
Wolf Eyes,
Lou Reed & Metallica,
Wally Richardson,
Aloha Tigers,
Scott Walker,
Harpers Bizarre,
Japan,
Au Pairs,
Visionaries,LMNO, T- Love & Iriscience,
F. McDonald,
Kool Moe Dee,
Sonny Sharrock,
MDC,
Masters at Work,
Rufus Thomas,
Throbbing Gristle,
Hoover,
Radiohead,
Adolescents,
Theoretical Girls,
Art Ensemble Of Chicago,
Bobby Womack,
Drive Like Jehu,
Flamin' Groovies,
The Birthday Party,
Gong,
Andrew Ashong & Theo Parrish,
Moss Icon,
The Count Five,
Marine Girls,
the Fania All-Stars,
Camouflage,
Camron Feat. Memphis Bleek And Beenie Seigel,
Pulsallama,
Urselle, Urselle, Urselle, Urselle.
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.