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 Moldova and from Delhi.
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 1963 to 1979.
I'm losing my edge.
To all the kids in Lille and Tehran.
I'm losing my edge to the art-school Cairo 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 synthesizer 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 June of 44 to the rock kids.
I played it at the Crocodile.
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 Heavy D & The Boyz. All the underground hits.
All KRS-One tracks. I heard you have a vinyl of every Pierre Henry record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a sitar and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a cv313 record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Funky Four + One,
Red Lorry Yellow Lorry,
Fluxion,
Minny Pops,
Roy Ayers,
Kayak,
Pulsallama,
Gichy Dan,
Robert Görl,
The Stooges,
Black Pus,
Sly & The Family Stone,
Cabaret Voltaire,
Piero Umiliani,
The Toasters,
Man Parrish,
Dawn Penn,
The Dave Clark Five,
Max Romeo,
Pere Ubu,
Steve Hackett,
The Motions,
Grauzone,
Yellowson,
Nick Fraelich,
The Happenings,
Panda Bear,
The Shadows of Knight,
Ultravox,
Sound Behaviour,
Flipper,
Whodini,
Reagan Youth,
The Seeds,
Funkadelic,
The Remains,
Wolf Eyes,
Jacob Miller,
Rotary Connection,
Pierre Henry,
Camberwell Now,
Crispian St. Peters,
Hardrive,
Maleditus Sound,
Kevin Saunderson,
Morten Harket,
Bill Near,
Matthew Bourne,
The Saints,
Can,
Liaisons Dangereuses,
Mandrill,
Pylon,
Deutsch Amerikanische Freundschaft,
David McCallum,
Q and Not U,
Symarip,
The Electric Prunes,
Monks, Monks, Monks, Monks.
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.