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 Dominican Republic and from Tokyo.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Stockholm and Accra.
I'm losing my edge to the art-school London 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 808 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 Andrew Ashong & Theo Parrish to the dance kids.
I played it at CBGB's.
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 Rod Modell. All the underground hits.
All Idris Muhammad tracks. I heard you have a vinyl of every John Lydon 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 '60s cut and another box set from the '70s.
I hear you're buying a chamberlin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Sister Nancy record.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fire Engines,
Outsiders,
Barclay James Harvest,
The Gun Club,
Alphaville,
Grey Daturas,
Piero Umiliani,
OOIOO,
Brothers Johnson,
Yusef Lateef,
Section 25,
Ronnie Foster,
Archie Shepp,
Tom Boy,
Josef K,
Roxy Music,
John Cale,
Idris Muhammad,
Harry Pussy,
Avey Tare,
Flamin' Groovies,
The Slits,
Graham Central Station,
Mission of Burma,
the Germs,
LL Cool J,
Danielle Patucci,
Dave Gahan,
The Seeds,
Laurel Aitken,
Joe Smooth,
Duran Duran,
X-Ray Spex,
Barbara Tucker,
Nas,
Bill Wells,
Visage,
The Knickerbockers,
Stetsasonic,
Sly & The Family Stone,
Stereo Dub,
Sparks,
Matthew Halsall,
Be Bop Deluxe,
The Music Machine,
Monks,
Gil Scott Heron,
the Association,
Sandy B,
Joyce Sims,
Lightning Bolt,
The Neon Judgement,
Dead Boys,
Alison Limerick,
Throbbing Gristle,
The Dave Clark Five,
Ken Boothe,
Susan Cadogan,
Wighnomy Brothers & Robag Wruhme,
Louis and Bebe Barron,
This Heat, This Heat, This Heat, This Heat.
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.