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 Guinea and from Manchester.
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 1970.
I'm losing my edge.
To all the kids in Shanghai and Manila.
I'm losing my edge to the art-school Jakarta 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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the spring reverb 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 Rufus Thomas to the grunge 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 Flamin' Groovies. All the underground hits.
All Kas Product tracks. I heard you have a vinyl of every The Chocolate Watch Band 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 '90s.
I hear you're buying a rhodes and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Excepter record.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bauhaus,
Todd Terry,
X-101,
Con Funk Shun,
the Germs,
Spandau Ballet,
FM Einheit,
Justin Hinds & The Dominoes,
Little Man,
L. Decosne,
EPMD,
The Fugs,
Sex Pistols,
Minutemen,
Shoche,
Whodini,
Gian Franco Pienzio,
Davy DMX,
the Association,
Rakim,
Flipper,
Charles Mingus,
Scientists,
Ralphi Rosario,
James Chance & The Contortions,
Electric Light Orchestra,
Pete Rock & C.L. Smooth,
Robert Hood,
Saccharine Trust,
Joy Division,
a-ha,
China Crisis,
Jacques Brel,
Crime,
Iggy Pop,
Subhumans,
The Selecter,
the Normal,
London Community Gospel Choir,
Fatback Band,
The Victims,
Joe Smooth,
The Cosmic Jokers,
Ituana,
Ludus,
Lou Reed & John Cale,
Andrew Ashong & Theo Parrish,
Silicon Teens,
Goldenarms,
The Barracudas,
Man Parrish,
Nirvana,
Shuggie Otis,
Chris & Cosey,
Althea and Donna,
The Golliwogs,
Brand Nubian,
Ronan,
Bobby Sherman,
Girls At Our Best!,
Black Pus,
Eden Ahbez,
Don Cherry,
Pulsallama, Pulsallama, Pulsallama, Pulsallama.
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.