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 St Lucia and from Salvador.
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 1974.
I'm losing my edge.
To all the kids in Hong Kong and London.
I'm losing my edge to the art-school Philadelphia 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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the mellotron sounds with much patience.
I was there when Michael McDonald 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 Chris & Cosey to the electroclash kids.
I played it at the Astoria.
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 Thompson Twins. All the underground hits.
All Amon Düül II tracks. I heard you have a vinyl of every Patti Smith 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 rhodes and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a MDC record.
I hear that you and your band have sold your guitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Martian,
Lonnie Liston Smith,
Gil Scott Heron,
Eric B and Rakim,
Subhumans,
Fatback Band,
The Last Poets,
Pierre Henry,
Crash Course in Science,
The Beau Brummels,
Nas,
Echospace,
James Chance & The Contortions,
The New Christs,
Johnny Osbourne,
Gang Green,
The Shadows of Knight,
Thinking Fellers Union Local 282,
Stetsasonic,
New Age Steppers,
Tommy Roe,
Warsaw,
The Skatalites,
The Pretty Things,
Pagans,
the Sonics,
The Angels of Light,
The Associates,
Kool G Rap & DJ Polo,
Davy DMX,
Alice Coltrane,
Jeff Mills,
Blossom Toes,
Piero Umiliani,
Freddie Wadling,
Boz Scaggs,
The Young Rascals,
The Invisible,
Minnie Riperton,
Oppenheimer Analysis,
Harry Pussy,
Maurizio,
It's A Beautiful Day,
Jesper Dahlbäck,
Susan Cadogan,
Underground Resistance,
Lucky Dragons,
the Association,
Slick Rick,
Suburban Knight,
Andrew Hill,
Babytalk,
Fugazi,
Lee Hazlewood,
The Pop Group,
Gang Starr,
Camberwell Now,
Skriet,
MDC,
Bizarre Inc.,
Traffic Nightmare,
Gastr Del Sol,
Japan,
Byron Stingily, Byron Stingily, Byron Stingily, Byron Stingily.
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.