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 San Marino and from Mexico City.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Lagos and Cairo.
I'm losing my edge to the art-school Sao Paulo 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 chamberlin sounds with much patience.
I was there when Robert Palmer 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 Quando Quango to the techno 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 David Axelrod. All the underground hits.
All MDC tracks. I heard you have a vinyl of every Ituana record on German import.
I heard that you have a white label of every seminal punk 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 a theremin and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Moleskins record.
I hear that you and your band have sold your mellotron and bought a snare.
I hear that you and your band have sold your snare and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ken Boothe,
Los Fastidios,
Marc Almond,
Black Sheep,
Beasts of Bourbon,
Make Up,
Sonny Sharrock,
Public Enemy,
Eurythmics,
Neil Young,
Section 25,
Bobby Hutcherson,
Country Teasers,
Stockholm Monsters,
The Gladiators,
Dorothy Ashby,
Pharoah Sanders,
Radio Birdman,
Easy Going,
Fort Wilson Riot,
The Victims,
Adolescents,
Connie Case,
Spoonie Gee,
X-102,
Kas Product,
Fear,
Black Pus,
Judy Mowatt,
The Motions,
Tres Demented,
Idris Muhammad,
The Sisters of Mercy,
Robert Wyatt,
Fatback Band,
Boogie Down Productions,
Metal Thangz,
the Sonics,
Dave Gahan,
Faust,
James White and The Blacks,
Bang on a Can All-Stars,
Derrick May,
Tubeway Army,
Tommy Roe,
Lightning Bolt,
Agent Orange,
Nirvana,
David McCallum,
The Birthday Party,
The Human League,
Oppenheimer Analysis,
the Slits,
Nation of Ulysses,
Siglo XX,
A Flock of Seagulls,
Infiniti,
The Monks,
Blossom Toes,
The Evens,
Little Man,
Ultravox,
Jimmy McGriff,
The Star Department,
Mr. Review, Mr. Review, Mr. Review, Mr. Review.
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.