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 Ukraine and from Manchester.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Calgary and Bologna.
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 synthesizer 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 The Mojo Men to the punk kids.
I played it at the Roxy.
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 Deutsch Amerikanische Freundschaft. All the underground hits.
All The Last Poets tracks. I heard you have a vinyl of every Mission of Burma record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a sitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Gastr Del Sol record.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Grandmaster Flash,
The Wake,
The Beau Brummels,
Gichy Dan,
Ten City,
Throbbing Gristle,
U.S. Maple,
Simply Red,
Thee Headcoats,
June Days,
The Mojo Men,
The Fuzztones,
Aloha Tigers,
Stetsasonic,
Crooked Eye,
Banda Bassotti,
Procol Harum,
The Gap Band,
Khruangbin,
Boredoms,
Rites of Spring,
Adolescents,
Brick,
Severed Heads,
Scratch Acid,
Sound Behaviour,
Sixth Finger,
Quando Quango,
Electric Light Orchestra,
Boz Scaggs,
The Dave Clark Five,
Scion,
the Human League,
Nik Kershaw,
Maleditus Sound,
Marine Girls,
Derrick Morgan,
Ronan,
The Young Rascals,
Mary Jane Girls,
Sister Nancy,
Visage,
Ituana,
The Gun Club,
Deadbeat,
Harpers Bizarre,
Junior Murvin,
Eden Ahbez,
Piero Umiliani,
Deakin,
The Detroit Cobras,
Fat Boys,
Scientists,
Tim Buckley,
The Residents,
The Kinks,
The Red Krayola,
Y Pants,
Laurel Aitken,
Inner City,
Tomorrow,
Blake Baxter,
Brass Construction, Brass Construction, Brass Construction, Brass Construction.
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.