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 Gambia and from Beijing.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Mumbai and Manila.
I'm losing my edge to the art-school Milan 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 chamberlin 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 Siglo XX to the jazz 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 The Royal Family And The Poor. All the underground hits.
All The Knickerbockers tracks. I heard you have a vinyl of every Country Teasers record on German import.
I heard that you have a white label of every seminal rap 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 an oboe and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Jesper Dahlbäck record.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
MDC,
the Soft Cell,
Skarface,
The Invisible,
Public Image Ltd.,
Index,
Pere Ubu,
These Immortal Souls,
The Zeros,
The Star Department,
Skaos,
Grandmaster Flash and the Furious Five,
Brass Construction,
Robert Wyatt,
Khruangbin,
The Busters,
Gian Franco Pienzio,
Vaughan Mason & Crew,
Gong,
Anthony Braxton,
Gil Scott Heron,
H. Thieme,
the Fania All-Stars,
Beasts of Bourbon,
Nils Olav,
Suicide,
Red Lorry Yellow Lorry,
Lungfish,
Wasted Youth,
The Happenings,
Josef K,
Gil Scott-Heron & Brian Jackson,
The Selecter,
Archie Shepp,
The Standells,
The Stooges,
Thinking Fellers Union Local 282,
Aural Exciters,
Dawn Penn,
Electric Prunes,
Marshall Jefferson,
Blossom Toes,
Niagra,
Avey Tare & Kría Brekkan,
Swans,
Terrestrial Tones,
Audionom,
Scratch Acid,
Groovy Waters,
Barbara Tucker,
Maleditus Sound,
Brothers Johnson,
Negative Approach,
Tubeway Army,
Smog,
The Knickerbockers,
Teenage Jesus and the Jerks,
Lalann,
The Slackers,
La Düsseldorf,
Matthew Bourne,
Ultramagnetic MC's,
Delon & Dalcan,
Amon Düül, Amon Düül, Amon Düül, Amon Düül.
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.