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 Albania and from Lyon.
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 1974.
I'm losing my edge.
To all the kids in Toronto and Mumbai.
I'm losing my edge to the art-school Manchester 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 arpeggiator 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 Ajijia Myrayebe to the disco 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 Alison Limerick. All the underground hits.
All the Slits tracks. I heard you have a vinyl of every Kevin Saunderson 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 '60s cut and another box set from the '90s.
I hear you're buying a chamberlin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Crispian St. Peters record.
I hear that you and your band have sold your organ and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Essential Logic,
Public Enemy,
Bootsy Collins,
Richard Hell and the Voidoids,
Gil Scott-Heron & Brian Jackson,
Oneida,
Freddie Wadling,
Lou Reed & Metallica,
Selector Dub Narcotic,
The Stooges,
Lalo Schifrin,
Stereo Dub,
The Sisters of Mercy,
Mars,
Roxette,
Fatback Band,
Bobby Hutcherson,
Blossom Toes,
Marvin Gaye,
Rhythm & Sound,
June Days,
Major Organ And The Adding Machine,
Shoche,
K-Klass,
Radio Birdman,
Wighnomy Brothers & Robag Wruhme,
Joensuu 1685,
Black Sheep,
Ludus,
The Remains,
The Beau Brummels,
The Flesh Eaters,
Main Source,
Gil Scott-Heron and Jamie xx,
Pere Ubu,
A Flock of Seagulls,
Terror Squad Feat. Camron,
R.M.O.,
Gil Scott Heron,
Ohio Players,
Graham Central Station,
Ajijia Myrayebe,
Echospace,
Index,
Newcleus,
Mad Mike,
Strawberry Alarm Clock,
The Happenings,
Letta Mbulu,
The Cramps,
Alice Coltrane,
Joey Negro,
Angels of Light & Akron/Family,
Reuben Wilson,
John Foxx,
Alton Ellis,
John Coltrane,
Symarip,
The Trojans,
Underground Resistance, Underground Resistance, Underground Resistance, Underground Resistance.
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.