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 Philippines and from Salvador.
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 1966 to 1976.
I'm losing my edge.
To all the kids in London and Seoul.
I'm losing my edge to the art-school Tehran 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 snare sounds with much patience.
I was there when Robert Palmer 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 X-101 to the punk 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 Vainqueur. All the underground hits.
All Second Layer tracks. I heard you have a vinyl of every Liaisons Dangereuses 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 '50s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Hot Snakes record.
I hear that you and your band have sold your guitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Selecter,
T. Rex,
Glambeats Corp.,
Intrusion,
Tim Buckley,
Pharaoh Sanders and the Fire Engines,
The Dirtbombs,
Q and Not U,
Liaisons Dangereuses,
The Birthday Party,
Sällskapet,
Black Bananas,
Lonnie Liston Smith,
Stockholm Monsters,
Scrapy,
Sunsets and Hearts,
the Normal,
Rowland S Howard / Lydia Lunch,
Babytalk,
Accadde A,
China Crisis,
Nik Kershaw,
Bang on a Can All-Stars,
Icehouse,
Anakelly,
Ice-T,
B.T. Express,
Liliput,
Bobbi Humphrey,
Eric B and Rakim,
Roger Hodgson,
Pharoah Sanders,
Hashim,
The Smoke,
The Music Machine,
The Cure,
48th St. Collective,
Pet Shop Boys,
The Moleskins,
Dawn Penn,
The Remains,
The Red Krayola,
Jesper Dahlbäck,
Excepter,
T.S.O.L.,
The Men They Couldn't Hang,
Second Layer,
Funkadelic,
Skaos,
Desert Stars,
Masters at Work,
Sun Ra,
Gabor Szabo,
the Swans,
Boogie Down Productions,
Bush Tetras,
Robert Wyatt,
Lindisfarne,
Vaughan Mason & Crew,
Stereo Dub,
Kayak,
Kurtis Blow,
The Alarm Clocks, The Alarm Clocks, The Alarm Clocks, The Alarm Clocks.
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.