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 Nicaragua and from Copenhagen.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Lyon and Copenhagen.
I'm losing my edge to the art-school Accra 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the mellotron sounds with much patience.
I was there when Robert Palmer 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 Swell Maps to the disco kids.
I played it at the Spitz.
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 Tom Boy. All the underground hits.
All Andrew Ashong & Theo Parrish tracks. I heard you have a vinyl of every Gabor Szabo record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a chamberlin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Black Pus record.
I hear that you and your band have sold your arpeggiator and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fugs,
The Birthday Party,
Erykah Badu,
Howard Jones,
Mary Jane Girls,
Graham Central Station,
John Foxx,
Teenage Jesus and the Jerks,
Terror Squad Feat. Camron,
Mantronix,
Brand Nubian,
Man Eating Sloth,
The Last Poets,
Flash Fearless,
Gil Scott Heron,
Easy Going,
Public Enemy,
48th St. Collective,
La Düsseldorf,
Curtis Mayfield,
Surgeon,
Bill Near,
The Raincoats,
Pole,
Harpers Bizarre,
Yaz,
The Electric Prunes,
Gerry Rafferty,
Kenny Larkin,
Minnie Riperton,
Delon & Dalcan,
X-101,
Jacob Miller,
EPMD,
Duran Duran,
Nirvana,
The Wake,
Radiohead,
Thee Headcoats,
Lizzy Mercier Descloux,
Fela Kuti,
Joe Finger,
Delta 5,
Oneida,
Big Daddy Kane,
Black Flag,
Maleditus Sound,
Donny Hathaway,
Arcadia,
Suburban Knight,
Suicide,
Niagra,
Pet Shop Boys,
Hoover,
The Detroit Cobras,
Monolake,
Peter & Gordon,
X-102,
Gregory Isaacs,
Brothers Johnson,
The Slackers,
Ituana, Ituana, Ituana, Ituana.
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.