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 Brazil and from Spokane.
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 1979.
I'm losing my edge.
To all the kids in Hong Kong and Jakarta.
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 spring reverb 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 Soft Machine to the rock kids.
I played it at the Hacienda.
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 Babytalk. All the underground hits.
All Little Man tracks. I heard you have a vinyl of every The Modern Lovers record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a mellotron and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Model 500 record.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ohio Players,
Stereo Dub,
Flipper,
The Move,
Icehouse,
The Electric Prunes,
Porter Ricks,
Depeche Mode,
Nation of Ulysses,
Bizarre Inc.,
La Düsseldorf,
Lakeside,
Oppenheimer Analysis,
The Human League,
Skaos,
Surgeon,
KRS-One,
Brand Nubian,
Joy Division,
Sex Pistols,
Gong,
Sugar Minott,
Bang On A Can,
Tres Demented,
The United States of America,
David McCallum,
Vainqueur,
Barrington Levy,
Rites of Spring,
Technova,
Dennis Brown,
The Toasters,
Gary Puckett & The Union Gap,
Essential Logic,
Hashim,
Bluetip,
Pierre Henry,
The Divine Comedy,
Popol Vuh,
The Monks,
Masters at Work,
Spoonie Gee,
The Associates,
Beasts of Bourbon,
Section 25,
Liaisons Dangereuses,
Mark Hollis,
The Dead C,
Underground Resistance,
the Sonics,
David Axelrod,
The Men They Couldn't Hang,
Delon & Dalcan,
Eddi Front,
T. Rex,
Jesper Dahlbäck,
Basic Channel,
Unrelated Segments,
Second Layer,
In Retrospect,
The Motions,
The Searchers,
Major Organ And The Adding Machine,
Yellowson, Yellowson, Yellowson, Yellowson.
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.