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 Chad and from Winnipeg.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Paris and London.
I'm losing my edge to the art-school Sao Paulo 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the linndrum 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 Gian Franco Pienzio to the rap kids.
I played it at Trash.
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 Japan. All the underground hits.
All Monolake tracks. I heard you have a vinyl of every Mr. Review record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a linndrum and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Thompson Twins record.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear that you and your band have sold your marimba 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?
Lucky Dragons,
The Zeros,
Nick Fraelich,
Hot Snakes,
Arthur Verocai,
De La Soul & Jungle Brothers,
The Real Kids,
Bob Dylan,
Amon Düül,
Jeru the Damaja,
Saccharine Trust,
Niagra,
Moss Icon,
Pere Ubu,
X-101,
Cameo,
Popol Vuh,
Aaron Thompson,
Moebius,
Kerri Chandler,
Susan Cadogan,
Fat Boys,
Orchestral Manoeuvres in the Dark,
Electric Prunes,
Kool Moe Dee,
The Beau Brummels,
Teenage Jesus and the Jerks,
Frankie Knuckles,
Banda Bassotti,
Juan Atkins,
E-Dancer,
Notorious Big And Bone Thugs,
Crime,
The Move,
The Velvet Underground,
Wire,
Graham Central Station,
Junior Murvin,
Brothers Johnson,
Pagans,
Gil Scott Heron,
Andrew Ashong & Theo Parrish,
Drive Like Jehu,
Johnny Osbourne,
Minutemen,
The Men They Couldn't Hang,
Lou Christie,
PIL,
Hoover,
Little Man,
Bill Wells,
Sly & The Family Stone,
Vainqueur,
Agitation Free,
Jesper Dahlback,
Isaac Hayes,
The Misunderstood,
Bill Near,
Curtis Mayfield,
Yusef Lateef,
JFA,
Technova,
Rakim,
R.M.O., R.M.O., R.M.O., R.M.O..
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.