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 Libya and from Mexico City.
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 1966 to 1978.
I'm losing my edge.
To all the kids in Toronto and Bologna.
I'm losing my edge to the art-school Houston 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 clarinet sounds with much patience.
I was there when David Bowie 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 the Slits to the disco kids.
I played it at Cafe Wha.
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 Visage. All the underground hits.
All Gil Scott Heron tracks. I heard you have a vinyl of every The Beau Brummels record on German import.
I heard that you have a white label of every seminal jazz 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 sitar and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Fluxion record.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Q and Not U,
Neil Young,
Kerrie Biddell,
Fatback Band,
Henry Cow,
The Last Poets,
The American Breed,
Freddie Wadling,
Absolute Body Control,
Joensuu 1685,
H. Thieme,
Max Romeo,
Silicon Teens,
Deadbeat,
Aaron Thompson,
X-Ray Spex,
Man Eating Sloth,
Bizarre Inc.,
The Cowsills,
Icehouse,
Mandrill,
The Blues Magoos,
Johnny Clarke,
A Flock of Seagulls,
PIL,
New Order,
The Grass Roots,
The New Christs,
Eric B and Rakim,
Sex Pistols,
The Walker Brothers,
The Selecter,
Magazine,
Stereo Dub,
Todd Terry,
Sun Ra Arkestra,
Make Up,
Ornette Coleman,
Heavy D & The Boyz,
Camberwell Now,
Jimmy McGriff,
Pussy Galore,
Spoonie Gee,
Animal Collective,
Ultra Naté,
Joe Finger,
Lalann,
the Association,
Brothers Johnson,
Eyeless In Gaza,
T. Rex,
Janne Schatter,
Cameo,
Bronski Beat,
Terror Squad Feat. Camron,
Underground Resistance,
Sad Lovers and Giants,
Livin' Joy,
Matthew Bourne,
CMW,
The Dirtbombs,
Rotary Connection,
Organ,
Sandy B, Sandy B, Sandy B, Sandy B.
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.