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 Italy and from Milan.
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 1979.
I'm losing my edge.
To all the kids in Accra and Cairo.
I'm losing my edge to the art-school Shanghai 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 Nile Rodgers 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 Reuben Wilson to the disco kids.
I played it at Trash.
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 Cal Tjader. All the underground hits.
All The Flesh Eaters tracks. I heard you have a vinyl of every The Barracudas record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a linndrum and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Fortunes record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Peter & Gordon,
Magazine,
Lou Reed,
The Chocolate Watch Band,
Red Lorry Yellow Lorry,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Suicide,
Gang Starr,
Q and Not U,
Magma,
Khruangbin,
Lungfish,
Be Bop Deluxe,
Barclay James Harvest,
Harpers Bizarre,
Black Flag,
The Walker Brothers,
Althea and Donna,
Flash Fearless,
Major Organ And The Adding Machine,
Jesper Dahlbäck,
Public Enemy,
Blancmange,
Trumans Water,
The Dirtbombs,
Boz Scaggs,
The Litter,
Grandmaster Flash,
Main Source,
Robert Görl,
Judy Mowatt,
Bobby Womack,
Moby Grape,
Malaria!,
Toni Rubio,
Cabaret Voltaire,
a-ha,
The Moleskins,
Marc Romboy vs. Booka Shade,
Robert Hood,
Susan Cadogan,
The Cowsills,
Joey Negro,
Bauhaus,
Röyhkä ja Rättö ja Lehtisalo,
Bobby Byrd,
Nation of Ulysses,
Model 500,
Byron Stingily,
The Vogues,
Barbara Tucker,
Can,
Sly & The Family Stone,
Ultimate Spinach,
Boogie Down Productions,
Half Japanese,
China Crisis,
Pete Rock & C.L. Smooth, Pete Rock & C.L. Smooth, Pete Rock & C.L. Smooth, Pete Rock & C.L. Smooth.
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.