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 Comoros and from Stockholm.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Tehran and Tehran.
I'm losing my edge to the art-school Philadelphia 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 arpeggiator sounds with much patience.
I was there when Donald Fagen 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 Jacques Brel to the funk 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 Bootsy Collins. All the underground hits.
All X-101 tracks. I heard you have a vinyl of every The Angels of Light record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying an organ and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Deakin record.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
cv313,
Monolake,
Notorious BIG live in Amsterdam,
Make Up,
Heaven 17,
Electric Prunes,
Fluxion,
ABBA,
Anakelly,
The Victims,
The Barracudas,
Minor Threat,
Angels of Light & Akron/Family,
The Last Poets,
Desert Stars,
Pole,
Lonnie Liston Smith,
Marc Almond,
Second Layer,
Hasil Adkins,
Country Teasers,
Skaos,
MDC,
Average White Band,
The Jesus and Mary Chain,
The Royal Family And The Poor,
Art Ensemble Of Chicago,
Loose Ends,
Bill Wells,
The Skatalites,
Brass Construction,
Mission of Burma,
Ash Ra Tempel,
The Wake,
Toni Rubio,
Avey Tare,
Minutemen,
the Soft Cell,
The Gun Club,
Eyeless In Gaza,
Yazoo,
Los Fastidios,
Infiniti,
Duran Duran,
June of 44,
Magazine,
Qualms,
Harpers Bizarre,
Traffic Nightmare,
Chrome,
Main Source,
Tommy Roe,
Tropical Tobacco,
The Real Kids,
John Holt,
Moebius,
Henry Cow,
This Heat,
Larry & the Blue Notes,
Liliput,
Crooked Eye,
Sam Rivers,
Graham Central Station, Graham Central Station, Graham Central Station, Graham Central Station.
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.