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 Georgia and from Mexico City.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Accra and Philadelphia.
I'm losing my edge to the art-school Beijing 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 1973 at the first Television practice in a loft in New York.
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 Arthur Verocai to the dance 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 Pylon. All the underground hits.
All Lungfish tracks. I heard you have a vinyl of every K-Klass 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 '80s cut and another box set from the '70s.
I hear you're buying a spring reverb and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Heaven 17 record.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kings Of Tomorrow,
Bizarre Inc.,
Selector Dub Narcotic,
The Associates,
Kango’s Stein Massive,
Hoover,
Zapp,
Bang On A Can,
John Foxx,
Ohio Players,
London Community Gospel Choir,
Terry Callier,
Sight & Sound,
Scientists,
Janne Schatter,
The Invisible,
Junior Murvin,
Minny Pops,
Vaughan Mason & Crew,
E-Dancer,
Severed Heads,
The Electric Prunes,
Warsaw,
Angels of Light & Akron/Family,
Bush Tetras,
Hashim,
48th St. Collective,
Thompson Twins,
Pharaoh Sanders and the Fire Engines,
Bauhaus,
The Names,
Eve St. Jones,
Tom Boy,
Kool Moe Dee,
Roy Ayers Ubiquity,
The Monochrome Set,
Scott Walker,
Clear Light,
Black Moon,
Organ,
Scratch Acid,
Pantaleimon,
Model 500,
Talk Talk,
World's Most,
Tres Demented,
Absolute Body Control,
Moebius,
John Holt,
Rufus Thomas,
Cheater Slicks,
Suburban Knight,
The Fugs,
Ituana,
Todd Rundgren,
The Pop Group,
Second Layer,
Nick Fraelich,
Deutsch Amerikanische Freundschaft,
De La Soul & Jungle Brothers,
The Remains,
Stereo Dub,
Gil Scott-Heron and Jamie xx,
Popol Vuh, Popol Vuh, Popol Vuh, Popol Vuh.
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.