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 Samoa and from Johannesburg.
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 1975.
I'm losing my edge.
To all the kids in Accra and Hong Kong.
I'm losing my edge to the art-school Milan 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 organ 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 Marmalade to the techno kids.
I played it at CBGB's.
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 Normal. All the underground hits.
All Neil Young 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 punk 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 a theremin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Pierre Henry record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Agitation Free,
Alice Coltrane,
Ultramagnetic MC's,
Blancmange,
Skriet,
Aaron Thompson,
PIL,
Fear,
The Dirtbombs,
The Red Krayola,
Freddie Wadling,
Tommy Roe,
the Bar-Kays,
The Kinks,
Cymande,
Robert Görl,
Thompson Twins,
Marmalade,
Ultra Naté,
Circle Jerks,
Mary Jane Girls,
De La Soul & Jungle Brothers,
Bill Wells,
Underground Resistance,
Judy Mowatt,
Yellowson,
The Gladiators,
Sex Pistols,
The United States of America,
Gregory Isaacs,
Public Enemy,
New Order,
Nico,
Leonard Cohen,
Subhumans,
Model 500,
Jesper Dahlback,
John Holt,
the Sonics,
Albert Ayler,
Josef K,
Quando Quango,
Nas,
Throbbing Gristle,
World's Most,
Deepchord,
The Fuzztones,
Pulsallama,
Peter and Kerry,
Gian Franco Pienzio,
Trumans Water,
Eli Mardock,
Main Source,
Andrew Hill,
Harpers Bizarre,
Sun Ra Arkestra,
Mad Mike,
Boogie Down Productions,
Lightning Bolt,
X-102, X-102, X-102, X-102.
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.