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 Liberia 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 1970.
I'm losing my edge.
To all the kids in Cairo and New York.
I'm losing my edge to the art-school Paris 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 theremin sounds with much patience.
I was there when Donald Fagen 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 Man Parrish to the funk 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 Bobby Womack. All the underground hits.
All Bizarre Inc. tracks. I heard you have a vinyl of every Stereo Dub record on German import.
I heard that you have a white label of every seminal jazz 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 spring reverb and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Agitation Free record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rotary Connection,
Gil Scott-Heron & Brian Jackson,
Masters at Work,
The New Christs,
The Victims,
Funky Four + One,
The Trojans,
Howard Jones,
Notorious Big And Bone Thugs,
the Normal,
Loose Ends,
Bobbi Humphrey,
A Certain Ratio,
Bobby Womack,
Marine Girls,
The Walker Brothers,
Scion,
Quando Quango,
Delta 5,
Ossler,
Mr. Review,
Brand Nubian,
Lou Christie,
Matthew Halsall,
Barry Ungar,
Laurel Aitken,
Kas Product,
Stiv Bators,
The Human League,
Teenage Jesus and the Jerks,
Buzzcocks,
Scott Walker,
Reagan Youth,
Bauhaus,
Nick Fraelich,
Wighnomy Brothers & Robag Wruhme,
OOIOO,
Maurizio,
Amon Düül,
JFA,
Liliput,
La Düsseldorf,
Toni Rubio,
Nas,
Chris & Cosey,
The Fortunes,
Unrelated Segments,
Strawberry Alarm Clock,
Babytalk,
The Detroit Cobras,
The Toasters,
Super Lover Cee & Casanova Rud,
The Neon Judgement,
Bootsy Collins,
the Soft Cell,
Terrestrial Tones,
Tom Boy,
Skaos,
The Star Department,
Model 500,
Bang on a Can All-Stars, Bang on a Can All-Stars, Bang on a Can All-Stars, Bang on a Can All-Stars.
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.