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 Brunei and from Tehran.
But I was there.
I was there in 1967.
I was there at the first Rodriguez 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 1960 to 1972.
I'm losing my edge.
To all the kids in Copenhagen and Mexico City.
I'm losing my edge to the art-school Jakarta 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the spring reverb 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 The Remains to the rock 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 Tres Demented. All the underground hits.
All Jeff Mills tracks. I heard you have a vinyl of every Agitation Free record on German import.
I heard that you have a white label of every seminal crunk 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 marimba and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Peter & Gordon record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Underground Resistance,
Sly & The Family Stone,
Bobby Hutcherson,
Adolescents,
Thompson Twins,
Grandmaster Flash and the Furious Five,
The Victims,
Public Enemy,
Man Parrish,
David Bowie,
Altered Images,
Ralphi Rosario,
Tropical Tobacco,
Sun Ra Arkestra,
Pete Rock & C.L. Smooth,
Liaisons Dangereuses,
Symarip,
Ronan,
The Knickerbockers,
Neu!,
Soft Machine,
The Fortunes,
R.M.O.,
Absolute Body Control,
8 Eyed Spy,
The Dirtbombs,
Dual Sessions,
Ponytail,
Stereo Dub,
DNA,
Derrick Morgan,
Echospace,
Rufus Thomas,
Yellowson,
Warren Ellis,
The Modern Lovers,
Make Up,
Roger Hodgson,
The Doors,
A Flock of Seagulls,
Alphaville,
Grauzone,
Icehouse,
Hot Snakes,
Tears for Fears,
The Peanut Butter Conspiracy,
Severed Heads,
Infiniti,
Althea and Donna,
The Gap Band,
Quadrant,
Carl Craig,
Anthony Braxton,
Bill Near,
Bush Tetras,
Hasil Adkins,
FM Einheit,
Zero Boys,
The Durutti Column,
Kings Of Tomorrow,
Masters at Work,
Minutemen,
Thinking Fellers Union Local 282, Thinking Fellers Union Local 282, Thinking Fellers Union Local 282, Thinking Fellers Union Local 282.
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.