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 Honduras and from Portland.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Accra and Shanghai.
I'm losing my edge to the art-school Madrid 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 chamberlin sounds with much patience.
I was there when Lou Reed 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 The Kinks to the disco 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 Masters at Work. All the underground hits.
All Dark Day tracks. I heard you have a vinyl of every Dead Boys record on German import.
I heard that you have a white label of every seminal jazz 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 an arpeggiator and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Subhumans record.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Camron Feat. Memphis Bleek And Beenie Seigel,
Roy Ayers,
Saccharine Trust,
Drive Like Jehu,
Joey Negro,
The Divine Comedy,
Nils Olav,
These Immortal Souls,
Boredoms,
Alice Coltrane,
KRS-One,
Excepter,
Marine Girls,
A Flock of Seagulls,
Jacques Brel,
Marc Almond,
Frankie Knuckles,
The Mighty Diamonds,
Mantronix,
Blancmange,
Amon Düül,
Jerry's Kids,
Bauhaus,
The Trojans,
Curtis Mayfield,
Soft Cell,
Charles Mingus,
Marvin Gaye,
Lightning Bolt,
The Music Machine,
Ajijia Myrayebe,
The Misunderstood,
Kauko Röyhkä ja Narttu,
Girls At Our Best!,
Blossom Toes,
Q and Not U,
N.O.R.E. Featuring Pharrell,
Pharoah Sanders,
The Real Kids,
Moby Grape,
the Human League,
The Gladiators,
Barry Ungar,
The Walker Brothers,
Absolute Body Control,
The Smiths,
Peter and Kerry,
Bobbi Humphrey,
The Victims,
the Swans,
Gastr Del Sol,
Moss Icon,
Banda Bassotti,
Fifty Foot Hose,
Severed Heads,
Kool G Rap & DJ Polo,
Lafayette Afro Rock Band,
Art Ensemble Of Chicago,
Cybotron,
Ultramagnetic MC's,
Subhumans,
The Five Americans,
The Sound, The Sound, The Sound, The Sound.
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.