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 Tonga and from Seoul.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1965 to 1979.
I'm losing my edge.
To all the kids in Philadelphia and Manchester.
I'm losing my edge to the art-school Copenhagen 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 guitar 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 Kaleidoscope to the techno kids.
I played it at the Troubador.
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 Byron Stingily. All the underground hits.
All Scratch Acid tracks. I heard you have a vinyl of every Sexual Harrassment 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 '50s cut and another box set from the '90s.
I hear you're buying a snare and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a H. Thieme record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bronski Beat,
Sound Behaviour,
The Angels of Light,
Chris & Cosey,
Louis and Bebe Barron,
Graham Central Station,
Harry Pussy,
Drive Like Jehu,
It's A Beautiful Day,
Youth Brigade,
Connie Case,
Gastr Del Sol,
T.S.O.L.,
Matthew Halsall,
The Golliwogs,
Terry Callier,
Tom Boy,
Eurythmics,
Dead Boys,
The Gories,
Swell Maps,
Ash Ra Tempel,
The Pop Group,
Throbbing Gristle,
Bizarre Inc.,
Bobby Byrd,
Warsaw,
Saccharine Trust,
The Searchers,
The Saints,
Reuben Wilson,
Rufus Thomas,
Zero Boys,
Andrew Hill,
CMW,
David Axelrod,
Joyce Sims,
Nas,
Girls At Our Best!,
The Zeros,
The Smiths,
Yaz,
Black Moon,
The Happenings,
Peter and Kerry,
the Slits,
Thinking Fellers Union Local 282,
Liliput,
Todd Rundgren,
Cymande,
Das Ding,
Dark Day,
Radiopuhelimet,
Nirvana,
Fluxion,
The Sound,
Dual Sessions,
Motorama,
Scratch Acid,
Country Joe & The Fish,
Sällskapet, Sällskapet, Sällskapet, Sällskapet.
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.