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 Sweden and from New York.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Houston and Houston.
I'm losing my edge to the art-school Houston 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 spring reverb sounds with much patience.
I was there when David Bowie 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 Porter Ricks to the grime 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 Eric B and Rakim. All the underground hits.
All Spandau Ballet tracks. I heard you have a vinyl of every Mark Hollis record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a linndrum and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Con Funk Shun record.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Red Krayola,
Robert Hood,
Zero Boys,
Soft Machine,
Deakin,
the Sonics,
Don Cherry,
Flamin' Groovies,
Cecil Taylor,
Japan,
Negative Approach,
Mo-Dettes,
Andrew Hill,
Panda Bear,
Michelle Simonal,
10cc,
Marshall Jefferson,
Pierre Henry,
Loose Ends,
The Detroit Cobras,
Joyce Sims,
Lightning Bolt,
Laurel Aitken,
Scratch Acid,
the Fania All-Stars,
Outsiders,
Tim Buckley,
Minny Pops,
The Chocolate Watch Band,
Crispian St. Peters,
Qualms,
Talk Talk,
June Days,
The Dave Clark Five,
CMW,
Graham Central Station,
Neu!,
Be Bop Deluxe,
Eyeless In Gaza,
Bob Dylan,
Jandek,
Procol Harum,
Brothers Johnson,
The Offenders,
Mantronix,
Motorama,
Television,
Freddie Wadling,
Metal Thangz,
Los Fastidios,
Vladislav Delay,
Banda Bassotti,
Judy Mowatt,
The Slackers,
One Last Wish,
Roy Ayers,
MDC,
Ash Ra Tempel,
The Moleskins,
Iggy Pop,
Ultramagnetic MC's,
Colin Newman,
Malaria!,
Big Daddy Kane, Big Daddy Kane, Big Daddy Kane, Big Daddy Kane.
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.