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 Japan 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 1969 to 1971.
I'm losing my edge.
To all the kids in Houston and Jakarta.
I'm losing my edge to the art-school Mumbai 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the arpeggiator sounds with much patience.
I was there when Donald Fagen 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 United States of America to the funk kids.
I played it at the 40 Watt.
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 The American Breed. All the underground hits.
All The Moody Blues tracks. I heard you have a vinyl of every Sonic Youth record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a theremin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The Jesus and Mary Chain record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Andrew Hill,
Zapp,
Fat Boys,
a-ha,
Mandrill,
The Flesh Eaters,
Funkadelic,
The Grass Roots,
Black Sheep,
Funky Four + One,
Junior Murvin,
8 Eyed Spy,
Reagan Youth,
Graham Central Station,
Cymande,
Eve St. Jones,
Ituana,
New Age Steppers,
Lucky Dragons,
Marshall Jefferson,
La Düsseldorf,
Blossom Toes,
Sparks,
The Moleskins,
Roy Ayers,
L. Decosne,
Lyres,
The Busters,
Bill Wells,
The Techniques,
Pagans,
Mad Mike,
Judy Mowatt,
Ronnie Foster,
The Star Department,
One Last Wish,
The West Coast Pop Art Experimental Band,
Depeche Mode,
Alison Limerick,
Pet Shop Boys,
Pantaleimon,
Motorama,
Deakin,
Goldenarms,
Skarface,
Prince Buster,
Jacob Miller,
Sixth Finger,
Terror Squad Feat. Camron,
Icehouse,
Terry Callier,
The Peanut Butter Conspiracy,
The Monochrome Set,
Kerri Chandler,
Derrick Morgan,
Massinfluence,
Max Romeo,
The Five Americans,
Iggy Pop,
Rufus Thomas, Rufus Thomas, Rufus Thomas, Rufus Thomas.
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.