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 Djibouti 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 1968 to 1971.
I'm losing my edge.
To all the kids in Tokyo and Bremen.
I'm losing my edge to the art-school Columbus 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 theremin sounds with much patience.
I was there when Holger Czukay 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 Gil Scott-Heron & Brian Jackson to the jazz 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 The Moleskins. All the underground hits.
All Brass Construction tracks. I heard you have a vinyl of every Soul II Soul record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a snare and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Blossom Toes record.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pharoah Sanders,
Whodini,
Sad Lovers and Giants,
Rhythm & Sound,
Qualms,
Angry Samoans,
Zero Boys,
Notorious BIG live in Amsterdam,
Dual Sessions,
Aloha Tigers,
Godley & Creme,
Deadbeat,
The Fortunes,
Eden Ahbez,
Stiv Bators,
The Gories,
Suburban Knight,
The Misunderstood,
The Detroit Cobras,
Marmalade,
The Evens,
Severed Heads,
Bobby Sherman,
The Count Five,
U.S. Maple,
Justin Hinds & The Dominoes,
Icehouse,
The Mummies,
Lebanon Hanover,
Kauko Röyhkä ja Narttu,
The Beau Brummels,
Blossom Toes,
Radiopuhelimet,
Mary Jane Girls,
Organ,
The Selecter,
Pole,
Minny Pops,
Motorama,
Massinfluence,
Drive Like Jehu,
Blancmange,
Main Source,
Accadde A,
Slick Rick,
Yusef Lateef,
The Victims,
Be Bop Deluxe,
Funky Four + One,
Pet Shop Boys,
Jeru the Damaja,
Johnny Osbourne,
Iggy Pop,
Lizzy Mercier Descloux,
Lou Reed & Metallica,
Chris Corsano,
T. Rex,
Barry Ungar,
Super Lover Cee & Casanova Rud,
Albert Ayler,
Lee Hazlewood,
Radiohead, Radiohead, Radiohead, Radiohead.
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.