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 Kitts & Nevis and from Seoul.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in London.
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 1963 to 1977.
I'm losing my edge.
To all the kids in Salvador and Salvador.
I'm losing my edge to the art-school Edmonton 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 mellotron sounds with much patience.
I was there when Captain Beefheart 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 Moss Icon to the punk kids.
I played it at Cafe Wha.
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 Modern Lovers. All the underground hits.
All kango's stein massive tracks. I heard you have a vinyl of every The Beau Brummels record on German import.
I heard that you have a white label of every seminal dance 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 chamberlin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Kerrie Biddell record.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sonic Youth,
Flipper,
Porter Ricks,
Major Organ And The Adding Machine,
Qualms,
Public Image Ltd.,
The Alarm Clocks,
Grandmaster Flash and the Furious Five,
Bootsy Collins,
Procol Harum,
Toni Rubio,
Flash Fearless,
Derrick May,
Electric Prunes,
The Shadows of Knight,
Jesper Dahlbäck,
The Dave Clark Five,
Hoover,
Blake Baxter,
Sister Nancy,
Wally Richardson,
Dorothy Ashby,
Brass Construction,
Aaron Thompson,
X-Ray Spex,
Index,
Brothers Johnson,
Althea and Donna,
Mary Jane Girls,
James Chance & The Contortions,
Justin Hinds & The Dominoes,
Wolf Eyes,
Fear,
Infiniti,
Lizzy Mercier Descloux,
Ultimate Spinach,
The Music Machine,
Leonard Cohen,
The Fall,
Quantec,
Roxette,
Main Source,
Funky Four + One,
the Sonics,
Avey Tare & Kría Brekkan,
Peter and Kerry,
Suburban Knight,
Ornette Coleman,
Byron Stingily,
Black Sheep,
The Electric Prunes,
The Monks,
Harmonia,
Al Stewart,
Eli Mardock,
Ituana,
Amon Düül,
Beasts of Bourbon,
Drive Like Jehu,
Junior Murvin,
Larry & the Blue Notes,
Erykah Badu,
Oneida, Oneida, Oneida, Oneida.
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.