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 Moldova and from Lyon.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Philadelphia and Bologna.
I'm losing my edge to the art-school London 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 synthesizer 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 Lower 48 to the punk kids.
I played it at the Spitz.
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 Charles Mingus. All the underground hits.
All Derrick May tracks. I heard you have a vinyl of every Flamin' Groovies record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a clarinet and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a T. Rex record.
I hear that you and your band have sold your sitar and bought a marimba.
I hear that you and your band have sold your marimba and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Techniques,
It's A Beautiful Day,
Radiopuhelimet,
Andrew Ashong & Theo Parrish,
Masters at Work,
Roy Ayers Ubiquity,
Brothers Johnson,
Skaos,
Rahsaan Roland Kirk,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Idris Muhammad,
Joe Finger,
Soft Machine,
John Coltrane,
Gregory Isaacs,
Morten Harket,
PIL,
Can,
Manfred Mann's Earth Band,
Sugar Minott,
Camron Feat. Jay Z And Juelz,
Reagan Youth,
The United States of America,
Henry Cow,
The Pop Group,
Sun Ra Arkestra,
Groovy Waters,
Minutemen,
Arab on Radar,
Little Man,
Scan 7,
Jeff Lynne,
Gichy Dan,
Camouflage,
Girls At Our Best!,
Richard Hell and the Voidoids,
the Slits,
Heavy D & The Boyz,
Roxette,
Mandrill,
Marvin Gaye,
EPMD,
Wire,
The Gun Club,
These Immortal Souls,
DJ Style,
Deepchord,
Bronski Beat,
Ash Ra Tempel,
Bang On A Can,
Index,
Surgeon,
Andrew Hill,
Altered Images,
Gabor Szabo,
Donald Byrd,
FM Einheit,
Orchestral Manoeuvres in the Dark,
Zero Boys,
Black Sheep,
Harpers Bizarre,
Supertramp,
Alton Ellis,
Sunsets and Hearts, Sunsets and Hearts, Sunsets and Hearts, Sunsets and Hearts.
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.