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 Ecuador and from Paris.
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 1968 to 1977.
I'm losing my edge.
To all the kids in Mumbai and Mexico City.
I'm losing my edge to the art-school Delhi 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 808 sounds with much patience.
I was there when Tom Verlaine 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 Schoolly D to the grime 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 Young Marble Giants. All the underground hits.
All Gil Scott-Heron and Jamie xx tracks. I heard you have a vinyl of every Flash Fearless record on German import.
I heard that you have a white label of every seminal punk 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 a snare and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Gerry Rafferty record.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Residents,
Mr. Review,
Liliput,
Massinfluence,
Richard Hell and the Voidoids,
Brick,
The Men They Couldn't Hang,
Wighnomy Brothers & Robag Wruhme,
Visage,
Blossom Toes,
Panda Bear,
These Immortal Souls,
Rosa Yemen,
Bizarre Inc.,
Jandek,
Absolute Body Control,
Isaac Hayes,
The Blackbyrds,
The West Coast Pop Art Experimental Band,
Neil Young,
Eyeless In Gaza,
Hoover,
Susan Cadogan,
Unrelated Segments,
Ornette Coleman,
the Slits,
Agent Orange,
DeepChord presents Echospace,
Janne Schatter,
Lower 48,
Sight & Sound,
MDC,
Matthew Bourne,
Smog,
the Sonics,
Stiv Bators,
Magazine,
Basic Channel,
Ronnie Foster,
Marcia Griffiths,
Niagra,
Joensuu 1685,
Scott Walker,
Kango’s Stein Massive,
The Happenings,
Jerry Gold Smith,
David Axelrod,
Major Organ And The Adding Machine,
Funkadelic,
Gastr Del Sol,
Deepchord,
Dave Gahan,
The Doors,
The Fire Engines,
Kerri Chandler,
The Shadows of Knight,
Popol Vuh,
Siouxsie and the Banshees,
Nation of Ulysses,
Dark Day,
The Gories,
Barry Ungar, Barry Ungar, Barry Ungar, Barry Ungar.
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.