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 Afghanistan and from Accra.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Winnipeg and Madrid.
I'm losing my edge to the art-school Paris 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 spring reverb 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 Moby Grape to the grime 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 KRS-One. All the underground hits.
All Aaron Thompson tracks. I heard you have a vinyl of every Silicon Teens 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 '70s cut and another box set from the '90s.
I hear you're buying a 808 and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Ralphi Rosario record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
PIL,
Public Image Ltd.,
Delon & Dalcan,
The Grass Roots,
Eli Mardock,
Skarface,
Yusef Lateef,
Letta Mbulu,
Byron Stingily,
The Sound,
Yazoo,
Lucky Dragons,
The Mummies,
Throbbing Gristle,
Oneida,
H. Thieme,
48th St. Collective,
The J.B.'s,
Quadrant,
Brand Nubian,
Boredoms,
Archie Shepp,
Jeff Mills,
Barbara Tucker,
Bill Near,
Warren Ellis,
Mission of Burma,
Andrew Ashong & Theo Parrish,
Moebius,
the Bar-Kays,
Sonny Sharrock,
Das Ding,
Ultravox,
Girls At Our Best!,
Kango’s Stein Massive,
Dawn Penn,
Drive Like Jehu,
Bush Tetras,
John Coltrane,
Suicide,
Danielle Patucci,
The Sonics,
Index,
Erykah Badu,
Soft Cell,
Von Mondo,
the Association,
Ash Ra Tempel,
Sight & Sound,
Qualms,
Bobby Hutcherson,
Clear Light,
The Gun Club,
Gang Starr,
Gabor Szabo,
Q65,
Charles Mingus,
Janne Schatter,
Roy Ayers,
Angry Samoans,
Colin Newman,
James Chance & The Contortions,
Roxy Music,
Quando Quango, Quando Quango, Quando Quango, Quando Quango.
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.