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 Jamaica and from Lagos.
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 1969 to 1974.
I'm losing my edge.
To all the kids in Tehran and Toronto.
I'm losing my edge to the art-school Calgary 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 linndrum 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 Eric Copeland to the techno kids.
I played it at the Troubador.
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 Drexciya. All the underground hits.
All Barclay James Harvest tracks. I heard you have a vinyl of every Warsaw 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 '80s cut and another box set from the '70s.
I hear you're buying a rhodes and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Gong record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
James Chance & The Contortions,
Scott Walker,
Joensuu 1685,
Swell Maps,
Ajijia Myrayebe,
The Happenings,
Major Organ And The Adding Machine,
Black Sheep,
Schoolly D,
Unrelated Segments,
Babytalk,
Panda Bear,
The Pretty Things,
DNA,
D'Angelo,
The Move,
Young Marble Giants,
Lower 48,
ABC,
The Leaves,
Sister Nancy,
Erasure,
The Black Dice,
Wire,
Lakeside,
Second Layer,
The Smoke,
Reagan Youth,
Gerry Rafferty,
Marc Almond,
Marmalade,
World's Most,
Masters at Work,
Mr. Review,
The Residents,
Idris Muhammad,
The Sisters of Mercy,
CMW,
Barbara Tucker,
Yusef Lateef,
Loose Ends,
Radio Birdman,
Eddi Front,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Zeros,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
The Grass Roots,
Letta Mbulu,
The Gories,
Roy Ayers,
Robert Wyatt,
The Selecter,
Can,
Jeff Lynne,
Easy Going,
Sällskapet,
Mark Hollis,
Byron Stingily,
Basic Channel, Basic Channel, Basic Channel, Basic Channel.
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.