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 Burundi and from New York.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Johannesburg and New York.
I'm losing my edge to the art-school New York 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 1968 at the first Can practice in a loft in Cologne.
I was working on the synthesizer 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 David Axelrod to the dance 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 Sex Pistols. All the underground hits.
All Sunsets and Hearts tracks. I heard you have a vinyl of every Angry Samoans 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 mellotron and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Adolescents record.
I hear that you and your band have sold your linndrum and bought a sitar.
I hear that you and your band have sold your sitar and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Second Layer,
Graham Central Station,
Icehouse,
Red Lorry Yellow Lorry,
Chrome,
Piero Umiliani,
The Blackbyrds,
Kurtis Blow,
Sparks,
R.M.O.,
Circle Jerks,
Andrew Hill,
Kerri Chandler,
Kool Moe Dee,
Warren Ellis,
Thinking Fellers Union Local 282,
48th St. Collective,
Eric Copeland,
Aural Exciters,
Jeff Mills,
Art Ensemble Of Chicago,
Skaos,
Suicide,
Bootsy Collins,
Sight & Sound,
Faust,
Fat Boys,
Model 500,
Popol Vuh,
Justin Hinds & The Dominoes,
Dawn Penn,
Sam Rivers,
The Count Five,
Girls At Our Best!,
The Dead C,
Bobby Byrd,
Smog,
Janne Schatter,
Depeche Mode,
Magma,
Connie Case,
The Pretty Things,
Lightning Bolt,
Adolescents,
Wire,
Radio Birdman,
The Techniques,
Bad Manners,
John Lydon,
Fluxion,
DNA,
Lalann,
Accadde A,
Ken Boothe,
Throbbing Gristle,
Lonnie Liston Smith,
Grandmaster Flash,
In Retrospect,
Manfred Mann's Earth Band,
Monks,
Bang on a Can All-Stars,
Trumans Water,
The Names,
Bob Dylan,
Isaac Hayes, Isaac Hayes, Isaac Hayes, Isaac Hayes.
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.