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 Cambodia and from Beijing.
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 1961 to 1978.
I'm losing my edge.
To all the kids in New York and Lille.
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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the linndrum sounds with much patience.
I was there when Lou Reed 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 Aural Exciters to the techno kids.
I played it at the Roxy.
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 DJ Style. All the underground hits.
All Pharaoh Sanders and the Fire Engines tracks. I heard you have a vinyl of every The Gladiators record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a mellotron and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Subhumans record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Juan Atkins,
Barrington Levy,
The Flesh Eaters,
Marshall Jefferson,
John Lydon,
Gang of Four,
The Wake,
T. Rex,
Peter & Gordon,
Fat Boys,
Gil Scott-Heron & Brian Jackson,
Grandmaster Flash,
Notorious Big And Bone Thugs,
Sound Behaviour,
The Angels of Light,
Deadbeat,
Bauhaus,
Todd Rundgren,
Trumans Water,
Roxy Music,
The Move,
48th St. Collective,
Kool G Rap & DJ Polo,
The Doors,
Rod Modell,
Lou Reed & John Cale,
Dual Sessions,
Icehouse,
The Peanut Butter Conspiracy,
Eric B and Rakim,
Kaleidoscope,
8 Eyed Spy,
New York Dolls,
Liliput,
The Young Rascals,
The Star Department,
New Order,
Louis and Bebe Barron,
Cameo,
Hot Snakes,
the Slits,
Little Man,
FM Einheit,
Sugar Minott,
Blossom Toes,
Harry Pussy,
Ash Ra Tempel,
Black Flag,
Roy Ayers Ubiquity,
Bizarre Inc.,
Cecil Taylor,
ABBA,
Black Bananas,
Radio Birdman,
Ultramagnetic MC's,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Bill Near,
Brass Construction,
Goldenarms,
UT,
Sandy B,
Kango’s Stein Massive, Kango’s Stein Massive, Kango’s Stein Massive, Kango’s Stein Massive.
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.