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 Angola and from Woodstock.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Tokyo and Lille.
I'm losing my edge to the art-school New York 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 guitar sounds with much patience.
I was there when Captain Beefheart 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 Alton Ellis to the jazz 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 Eve St. Jones. All the underground hits.
All Adolescents tracks. I heard you have a vinyl of every Ornette Coleman record on German import.
I heard that you have a white label of every seminal disco 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 a linndrum and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Rakim record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Grey Daturas,
Spandau Ballet,
The Smoke,
Faust,
Bobby Hutcherson,
Gabor Szabo,
Khruangbin,
Ultimate Spinach,
Andrew Hill,
Wasted Youth,
The Five Americans,
Jacob Miller,
Kerri Chandler,
The Count Five,
The Walker Brothers,
Shoche,
The Human League,
Mary Jane Girls,
The Angels of Light,
Ten City,
Make Up,
Sun Ra,
Todd Terry,
Chrome,
The Moody Blues,
Jacques Brel,
Quando Quango,
Barrington Levy,
The Blackbyrds,
Pulsallama,
The Mojo Men,
Graham Central Station,
Au Pairs,
Henry Cow,
The Golliwogs,
Soul Sonic Force,
Flipper,
The New Christs,
Sun City Girls,
Interpol,
Glambeats Corp.,
Scrapy,
Jeff Lynne,
Gil Scott-Heron & Brian Jackson,
Tommy Roe,
The Trojans,
Roxette,
Ice-T,
Little Man,
Amazonics,
Newcleus,
Liaisons Dangereuses,
Malaria!,
The Litter,
Eddi Front,
KRS-One,
Nils Olav,
Urselle,
Technova,
The Mummies,
The Knickerbockers,
The Doobie Brothers,
The Cramps,
Deakin, Deakin, Deakin, Deakin.
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.