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 Netherlands and from Manila.
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 1979.
I'm losing my edge.
To all the kids in Bologna and New York.
I'm losing my edge to the art-school Madrid 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 Lou Reed 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 Electric Prunes to the crunk kids.
I played it at Cafe Wha.
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 Sonics. All the underground hits.
All Faust tracks. I heard you have a vinyl of every Alison Limerick record on German import.
I heard that you have a white label of every seminal electroclash 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 a harpsichord and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Barclay James Harvest record.
I hear that you and your band have sold your harpsichord and bought a 808.
I hear that you and your band have sold your 808 and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Silicon Teens,
Q and Not U,
Darondo,
Sight & Sound,
The Walker Brothers,
Soul Sonic Force,
Kerrie Biddell,
Country Joe & The Fish,
Art Ensemble Of Chicago,
Motorama,
Scrapy,
Electric Prunes,
Eric Dolphy,
Scientists,
The Pretty Things,
Fat Boys,
Dorothy Ashby,
Visionaries,LMNO, T- Love & Iriscience,
Roger Hodgson,
Moss Icon,
Wings,
Monolake,
Alice Coltrane,
Massinfluence,
Angels of Light & Akron/Family,
Prince Buster,
Swell Maps,
The Invisible,
Ten City,
Eurythmics,
The Mummies,
Pagans,
Jawbox,
the Swans,
Larry & the Blue Notes,
Sonny Sharrock,
Bill Wells,
X-Ray Spex,
Brothers Johnson,
The Monochrome Set,
Talk Talk,
The Fortunes,
Chris & Cosey,
Mary Jane Girls,
The Victims,
Theoretical Girls,
Heavy D & The Boyz,
June of 44,
Notorious Big And Bone Thugs,
Oppenheimer Analysis,
Althea and Donna,
Mark Hollis,
Sexual Harrassment,
Smog,
Red Lorry Yellow Lorry,
Charles Mingus,
Television,
Jesper Dahlbäck,
Lalo Schifrin,
Sparks, Sparks, Sparks, Sparks.
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.