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 Argentina and from Cairo.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Portland and Tehran.
I'm losing my edge to the art-school Tehran 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 1984 at the first Arcadia practice in a loft in London.
I was working on the snare 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 Q and Not U to the techno 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 Bootsy Collins. All the underground hits.
All De La Soul & Jungle Brothers tracks. I heard you have a vinyl of every Robert Görl 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 '80s cut and another box set from the '70s.
I hear you're buying a sitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a R.M.O. record.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stockholm Monsters,
The Monks,
The Fire Engines,
Funkadelic,
The Fugs,
Television,
Bang on a Can All-Stars,
the Fania All-Stars,
Lindisfarne,
Delon & Dalcan,
Rekid,
The Tremeloes,
Maleditus Sound,
Massinfluence,
Strawberry Alarm Clock,
Section 25,
Sparks,
Boredoms,
Lou Reed,
E-Dancer,
Bad Manners,
Sex Pistols,
Can,
Chris & Cosey,
The Cowsills,
DeepChord presents Echospace,
Beasts of Bourbon,
Lakeside,
The Star Department,
Sad Lovers and Giants,
Nik Kershaw,
Lucky Dragons,
Rosa Yemen,
Johnny Clarke,
Idris Muhammad,
Joey Negro,
Avey Tare & Kría Brekkan,
Thompson Twins,
Jerry's Kids,
Livin' Joy,
Roxy Music,
The Five Americans,
Lafayette Afro Rock Band,
Los Fastidios,
Bang On A Can,
The Smiths,
The Busters,
Roy Ayers,
The Index,
Glenn Branca,
ABBA,
Lower 48,
Technova,
The Dave Clark Five,
Rites of Spring,
Jerry Gold Smith,
Kool Moe Dee,
Robert Görl,
Kerri Chandler,
Nas,
Crime, Crime, Crime, Crime.
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.