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 Ghana and from Spokane.
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 1968 to 1977.
I'm losing my edge.
To all the kids in Sao Paulo and Mexico City.
I'm losing my edge to the art-school Madrid 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 theremin 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 Minny Pops to the electroclash kids.
I played it at Trash.
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 John Lydon. All the underground hits.
All Sonic Youth tracks. I heard you have a vinyl of every Sunsets and Hearts record on German import.
I heard that you have a white label of every seminal crunk 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 a clarinet and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Be Bop Deluxe record.
I hear that you and your band have sold your clarinet and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alphaville,
Joe Smooth,
Marmalade,
The Count Five,
T. Rex,
Sound Behaviour,
The Evens,
Eric B and Rakim,
Ultimate Spinach,
Unwound,
Trumans Water,
Audionom,
A Certain Ratio,
Bizarre Inc.,
Alison Limerick,
Juan Atkins,
Darondo,
Television Personalities,
Mars,
Lalo Schifrin,
Dual Sessions,
Tim Buckley,
The Neon Judgement,
Minny Pops,
Alton Ellis,
F. McDonald,
The Divine Comedy,
Bill Wells,
Maleditus Sound,
Parry Music,
Porter Ricks,
Magazine,
Gil Scott Heron,
The Stooges,
E-Dancer,
CMW,
Lyres,
Man Parrish,
Radiohead,
The Chocolate Watch Band,
Little Man,
FM Einheit,
Kerrie Biddell,
Steve Hackett,
The Seeds,
Bobby Sherman,
Grandmaster Flash,
The American Breed,
Youth Brigade,
Siglo XX,
Nation of Ulysses,
Orchestral Manoeuvres in the Dark,
The Cosmic Jokers,
Mark Hollis,
Ossler,
Moss Icon,
Guru Guru,
Flash Fearless,
Animal Collective,
New Age Steppers,
Sight & Sound,
Laurel Aitken, Laurel Aitken, Laurel Aitken, Laurel Aitken.
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.