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 Afghanistan and from Paris.
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 1969 to 1979.
I'm losing my edge.
To all the kids in Madrid and Shanghai.
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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the spring reverb sounds with much patience.
I was there when Holger Czukay 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 Buzzcocks to the grime kids.
I played it at the Hacienda.
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 Trojans. All the underground hits.
All Peter Gordon & Love of Life Orchestra tracks. I heard you have a vinyl of every Yellowson record on German import.
I heard that you have a white label of every seminal techno 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 snare and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a The Offenders record.
I hear that you and your band have sold your sitar and bought a marimba.
I hear that you and your band have sold your marimba and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
CMW,
The Neon Judgement,
R.M.O.,
Kevin Saunderson,
Pete Rock & C.L. Smooth,
Maleditus Sound,
Mandrill,
Bush Tetras,
Second Layer,
Rites of Spring,
Youth Brigade,
Zapp,
The Golliwogs,
Man Parrish,
The Walker Brothers,
Pantaleimon,
Sparks,
John Coltrane,
Erasure,
Basic Channel,
Robert Görl,
Soft Cell,
Sonny Sharrock,
The Knickerbockers,
Ten City,
Scan 7,
Quadrant,
Robert Hood,
Fluxion,
Stiv Bators,
cv313,
Aaron Thompson,
The Standells,
Lee Hazlewood,
Avey Tare & Kría Brekkan,
The Sonics,
Be Bop Deluxe,
Teenage Jesus and the Jerks,
Cymande,
Joy Division,
Deakin,
The Wake,
Deutsch Amerikanische Freundschaft,
Slave,
Sexual Harrassment,
Captain Beefheart & His Magic Band,
The Happenings,
Monolake,
Eurythmics,
Organ,
Ice-T,
Grandmaster Flash and the Furious Five,
This Heat,
Depeche Mode,
Beasts of Bourbon,
Brick,
The Dirtbombs,
Mars,
Section 25,
Matthew Halsall,
Eden Ahbez,
Cal Tjader,
Television,
Johnny Clarke, Johnny Clarke, Johnny Clarke, Johnny Clarke.
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.