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 Micronesia and from Toronto.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Shanghai and Bremen.
I'm losing my edge to the art-school Tehran 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 1968 at the first Can practice in a loft in Cologne.
I was working on the 808 sounds with much patience.
I was there when Tom Verlaine 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 The Slackers to the punk kids.
I played it at the Astoria.
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 Minny Pops. All the underground hits.
All The Fire Engines tracks. I heard you have a vinyl of every Grauzone 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 guitar and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Spandau Ballet record.
I hear that you and your band have sold your 808 and bought a marimba.
I hear that you and your band have sold your marimba and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Supertramp,
Pole,
Reagan Youth,
Masters at Work,
Bluetip,
Neil Young,
Notorious BIG live in Amsterdam,
Dead Boys,
Bronski Beat,
Bootsy Collins,
The Seeds,
E-Dancer,
Marc Romboy vs. Booka Shade,
X-101,
The Beau Brummels,
Kenny Larkin,
John Holt,
Beasts of Bourbon,
Eurythmics,
Quadrant,
Aswad,
The American Breed,
the Slits,
Bauhaus,
Heavy D & The Boyz,
Rakim,
Freddie Wadling,
Yusef Lateef,
Drexciya,
Yaz,
Al Stewart,
Sister Nancy,
Pylon,
Electric Prunes,
Crispy Ambulance,
Ultimate Spinach,
Young Marble Giants,
Magazine,
Q65,
Agent Orange,
A Flock of Seagulls,
Marcia Griffiths,
Gang Gang Dance,
D'Angelo,
Barrington Levy,
Kerri Chandler,
Fad Gadget,
Suicide,
The Associates,
Model 500,
The Leaves,
Jerry's Kids,
Juan Atkins,
Peter & Gordon,
The Stooges,
Isaac Hayes,
Gang Starr,
Eddi Front,
Thee Headcoats,
Soft Machine,
Amon Düül,
Desert Stars,
Joey Negro, Joey Negro, Joey Negro, Joey Negro.
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.