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 Laos and from Tokyo.
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 1970.
I'm losing my edge.
To all the kids in Tehran and Manchester.
I'm losing my edge to the art-school Manchester 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 sitar sounds with much patience.
I was there when Michael McDonald 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 Graham Central Station to the rap kids.
I played it at the Spitz.
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 Warsaw. All the underground hits.
All Marcia Griffiths tracks. I heard you have a vinyl of every DNA record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying an oboe and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a JFA record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Slits,
The Fuzztones,
The Seeds,
Electric Light Orchestra,
Bad Manners,
The Names,
Pierre Henry,
Sällskapet,
Kurtis Blow,
The Angels of Light,
Graham Central Station,
Gang Gang Dance,
The Mojo Men,
Nils Olav,
The Last Poets,
Eurythmics,
Derrick May,
Lebanon Hanover,
Fela Kuti,
Popol Vuh,
Andrew Ashong & Theo Parrish,
Sad Lovers and Giants,
Jeff Lynne,
Excepter,
Cybotron,
DJ Style,
Amazonics,
Sonic Youth,
Silicon Teens,
Gastr Del Sol,
Scott Walker,
Wings,
Saccharine Trust,
Jimmy McGriff,
Porter Ricks,
Rahsaan Roland Kirk,
Glenn Branca,
Sun Ra,
The Divine Comedy,
Drive Like Jehu,
Barbara Tucker,
Quando Quango,
U.S. Maple,
The Modern Lovers,
Lightning Bolt,
Shoche,
Soul II Soul,
A Flock of Seagulls,
The Gladiators,
Jerry Gold Smith,
Magazine,
The Residents,
The Smiths,
Electric Prunes,
Flipper,
Wighnomy Brothers & Robag Wruhme,
KRS-One,
Matthew Bourne,
The Cure,
Vainqueur,
Roy Ayers Ubiquity,
Rapeman,
Crispian St. Peters,
Gregory Isaacs, Gregory Isaacs, Gregory Isaacs, Gregory Isaacs.
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.