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 San Marino and from Mexico City.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1976.
I'm losing my edge.
To all the kids in Copenhagen and Manchester.
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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the synthesizer 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 Zapp to the punk 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 Charles Mingus. All the underground hits.
All Slick Rick tracks. I heard you have a vinyl of every Tomorrow record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Andrew Hill record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ohio Players,
Susan Cadogan,
Piero Umiliani,
Dr. Dre and Snoop Doggy Dog,
Peter Gordon & Love of Life Orchestra,
The Wake,
The Selecter,
The Litter,
Lonnie Liston Smith,
Hardrive,
Rufus Thomas,
The Monochrome Set,
Ash Ra Tempel,
Joensuu 1685,
Tim Buckley,
Marvin Gaye,
Scion,
Jacob Miller,
Yusef Lateef,
Soul II Soul,
The Black Dice,
Mandrill,
Gian Franco Pienzio,
Colin Newman,
Reuben Wilson,
Tres Demented,
8 Eyed Spy,
Minutemen,
Eve St. Jones,
Godley & Creme,
Hoover,
Shoche,
Larry & the Blue Notes,
Joe Finger,
James White and The Blacks,
Eli Mardock,
Wally Richardson,
Parry Music,
Sad Lovers and Giants,
The Royal Family And The Poor,
Wings,
Pierre Henry,
D'Angelo,
John Cale,
Cymande,
Silicon Teens,
The Modern Lovers,
Robert Görl,
Cabaret Voltaire,
Supertramp,
The Motions,
Glambeats Corp.,
Wighnomy Brothers & Robag Wruhme,
E-Dancer,
Glenn Branca,
Cluster,
Mission of Burma,
The Mojo Men,
Tubeway Army,
Country Joe & The Fish,
Eurythmics, Eurythmics, Eurythmics, Eurythmics.
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.