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 Togo and from Paris.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Woodstock and Salvador.
I'm losing my edge to the art-school Taipei 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the güiro sounds with much patience.
I was there when Captain Beefheart 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 Sound Behaviour to the jazz 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 Electric Light Orchestra. All the underground hits.
All Captain Beefheart & His Magic Band tracks. I heard you have a vinyl of every The Kinks record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying an oboe and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Skriet record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Avey Tare's Slasher Flicks,
Soft Machine,
Faraquet,
Crooked Eye,
Harry Pussy,
The Remains,
Funkadelic,
The Black Dice,
Stockholm Monsters,
Joey Negro,
Visionaries,LMNO, T- Love & Iriscience,
Lungfish,
cv313,
Morten Harket,
Grandmaster Flash,
Monks,
Kayak,
Surgeon,
Jesper Dahlback,
Trumans Water,
Supertramp,
DJ Sneak,
Sister Nancy,
Bootsy's Rubber Band,
Althea and Donna,
The Barracudas,
Tommy Roe,
Thee Headcoats,
Deutsch Amerikanische Freundschaft,
Sugar Minott,
Cluster,
Alice Coltrane,
the Fania All-Stars,
Schoolly D,
Saccharine Trust,
Delon & Dalcan,
Major Organ And The Adding Machine,
Bob Dylan,
Bobby Byrd,
Captain Beefheart & His Magic Band,
The Birthday Party,
Mars,
Gil Scott-Heron & Brian Jackson,
Pharaoh Sanders and the Fire Engines,
Big Daddy Kane,
Amazonics,
Slave,
The Cosmic Jokers,
Wasted Youth,
Susan Cadogan,
The Five Americans,
Camron Feat. Jay Z And Juelz,
Circle Jerks,
Wolf Eyes,
Minor Threat,
Lower 48,
Country Teasers,
Grey Daturas,
Pantytec,
Ultimate Spinach,
Black Moon,
Bill Wells, Bill Wells, Bill Wells, Bill Wells.
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.