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 Dominica and from London.
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 1962 to 1972.
I'm losing my edge.
To all the kids in New York and Woodstock.
I'm losing my edge to the art-school Bologna 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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the mellotron 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 Black Bananas to the disco kids.
I played it at the Astoria.
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 Drive Like Jehu. All the underground hits.
All Television Personalities tracks. I heard you have a vinyl of every Kenny Larkin record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a clarinet and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Joe Finger record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Country Joe & The Fish,
Rotary Connection,
The Birthday Party,
The Durutti Column,
Slick Rick,
Half Japanese,
Bobby Hutcherson,
Barclay James Harvest,
The Men They Couldn't Hang,
Fifty Foot Hose,
The Doors,
The Zeros,
Aural Exciters,
James Chance & The Contortions,
Delta 5,
DJ Style,
Zero Boys,
The Monochrome Set,
Vladislav Delay,
Crime,
James White and The Blacks,
Young Marble Giants,
Beasts of Bourbon,
Joe Smooth,
Pierre Henry,
Eric Dolphy,
Essential Logic,
the Soft Cell,
Cymande,
Kaleidoscope,
Index,
Larry & the Blue Notes,
Dave Gahan,
Warsaw,
Marc Almond,
Pharaoh Sanders and the Fire Engines,
The Count Five,
Chris Corsano,
Bang on a Can All-Stars,
Organ,
Bootsy Collins,
Matthew Bourne,
The Smiths,
PIL,
Parry Music,
Main Source,
Con Funk Shun,
Jesper Dahlbäck,
Supertramp,
Gil Scott-Heron and Jamie xx,
Severed Heads,
The Fortunes,
Vaughan Mason & Crew,
Porter Ricks,
X-Ray Spex,
Crash Course in Science,
Japan,
Inner City,
Quantec,
Laurel Aitken,
Alton Ellis,
AZ,
Neu!,
Khruangbin, Khruangbin, Khruangbin, Khruangbin.
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.