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 Rwanda and from Stockholm.
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 1976.
I'm losing my edge.
To all the kids in Jakarta and Hong Kong.
I'm losing my edge to the art-school Toronto 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 theremin 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 David Axelrod to the rap kids.
I played it at the Astoria.
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 Scratch Acid. All the underground hits.
All Gabor Szabo tracks. I heard you have a vinyl of every Country Teasers 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 '70s.
I hear you're buying a 808 and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Walker Brothers record.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
ABBA,
One Last Wish,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Stetsasonic,
Delon & Dalcan,
Television Personalities,
Radiopuhelimet,
A Flock of Seagulls,
a-ha,
The Standells,
Gong,
Skarface,
Girls At Our Best!,
Second Layer,
Bauhaus,
Buzzcocks,
Sight & Sound,
Dawn Penn,
Zero Boys,
Panda Bear,
Sun City Girls,
Pole,
Maurizio,
Faust,
Dennis Brown,
Oppenheimer Analysis,
LL Cool J,
the Sonics,
Eyeless In Gaza,
Aswad,
Amon Düül II,
Los Fastidios,
The Blues Magoos,
Eurythmics,
London Community Gospel Choir,
The Gun Club,
Angry Samoans,
The Slits,
Agent Orange,
The Mighty Diamonds,
Derrick Morgan,
Bill Near,
Notorious Big And Bone Thugs,
Mary Jane Girls,
John Lydon,
Kerrie Biddell,
Skaos,
Eric B and Rakim,
Selector Dub Narcotic,
Man Parrish,
Iggy Pop,
The Smiths,
Soft Cell,
Camberwell Now,
Lou Christie,
Grandmaster Flash,
Chris Corsano,
Lee Hazlewood,
Justin Hinds & The Dominoes,
kango's stein massive,
New York Dolls,
Eddi Front,
Robert Wyatt,
Procol Harum, Procol Harum, Procol Harum, Procol Harum.
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.