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 Iraq and from Mumbai.
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 1967 to 1973.
I'm losing my edge.
To all the kids in Seoul and Lille.
I'm losing my edge to the art-school Salvador 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 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 The Zeros to the techno 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 Animal Collective. All the underground hits.
All Althea and Donna tracks. I heard you have a vinyl of every The Durutti Column record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a snare and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Peter and Kerry record.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
X-Ray Spex,
DNA,
Excepter,
Model 500,
Gil Scott Heron,
The Electric Prunes,
Gian Franco Pienzio,
H. Thieme,
Pantaleimon,
Laurel Aitken,
Howard Jones,
Gabor Szabo,
Warsaw,
Soft Machine,
Davy DMX,
Masters at Work,
Thinking Fellers Union Local 282,
The Standells,
Absolute Body Control,
Isaac Hayes,
Roger Hodgson,
R.M.O.,
Kool G Rap & DJ Polo,
Cluster,
Brothers Johnson,
Circle Jerks,
Deakin,
Kango’s Stein Massive,
Kings Of Tomorrow,
Qualms,
Simply Red,
Brass Construction,
the Germs,
Maleditus Sound,
kango's stein massive,
Red Lorry Yellow Lorry,
Aaron Thompson,
Siglo XX,
The Associates,
Make Up,
Livin' Joy,
Derrick May,
Radiopuhelimet,
Be Bop Deluxe,
The Young Rascals,
The American Breed,
Kas Product,
Tomorrow,
Shoche,
Barbara Tucker,
Guru Guru,
Lou Christie,
Theoretical Girls,
Underground Resistance,
Yaz,
The Slackers,
Roy Ayers Ubiquity,
Mr. Review,
Marc Almond,
Black Flag,
Röyhkä ja Rättö ja Lehtisalo,
Boogie Down Productions,
Piero Umiliani, Piero Umiliani, Piero Umiliani, Piero Umiliani.
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.