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 Kazakhstan and from Sao Paulo.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Jakarta and Lyon.
I'm losing my edge to the art-school Taipei 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 chamberlin sounds with much patience.
I was there when Nile Rodgers 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 Adolescents to the grunge 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 Charles Mingus. All the underground hits.
All The Slits tracks. I heard you have a vinyl of every Amon Düül II record on German import.
I heard that you have a white label of every seminal funk 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 an organ and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Kings Of Tomorrow record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lee Hazlewood,
The Pop Group,
Cal Tjader,
The Gun Club,
Average White Band,
Nirvana,
New Order,
Shoche,
Los Fastidios,
Country Teasers,
Roger Hodgson,
The Black Dice,
Clear Light,
Dual Sessions,
Soul Sonic Force,
Masters at Work,
Moebius,
EPMD,
This Heat,
Lower 48,
Intrusion,
The Names,
Jacob Miller,
Y Pants,
cv313,
Aural Exciters,
Sun Ra Arkestra,
The Gladiators,
Ituana,
Rekid,
Sunsets and Hearts,
R.M.O.,
Kango’s Stein Massive,
Robert Hood,
Agitation Free,
Rahsaan Roland Kirk,
Gang Gang Dance,
Television Personalities,
Jesper Dahlbäck,
Cluster,
Lucky Dragons,
Kerrie Biddell,
Harmonia,
Sixth Finger,
Soft Machine,
Byron Stingily,
Rosa Yemen,
Terry Callier,
Peter Gordon & Love of Life Orchestra,
Teenage Jesus and the Jerks,
Aloha Tigers,
Suburban Knight,
Black Moon,
Minor Threat,
The Angels of Light,
Kaleidoscope,
Gang of Four,
Shuggie Otis,
Panda Bear,
Brick,
Anakelly, Anakelly, Anakelly, Anakelly.
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.