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 Cuba and from Paris.
But I was there.
I was there in 1980.
I was there at the first Cybotron 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 1962 to 1974.
I'm losing my edge.
To all the kids in Delhi and Seoul.
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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the sitar sounds with much patience.
I was there when Lou Reed 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 Delta 5 to the crunk 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 Alison Limerick. All the underground hits.
All Roy Ayers tracks. I heard you have a vinyl of every The Evens record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a marimba and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Lightning Bolt record.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Donny Hathaway,
The Barracudas,
Half Japanese,
Idris Muhammad,
Animal Collective,
Orchestral Manoeuvres in the Dark,
Bluetip,
the Association,
Judy Mowatt,
Bauhaus,
B.T. Express,
Donald Byrd,
The Flesh Eaters,
Smog,
The Five Americans,
Robert Wyatt,
Bobby Hutcherson,
Moebius,
Bill Wells,
Au Pairs,
Charles Mingus,
Grandmaster Flash and the Furious Five,
Piero Umiliani,
Black Moon,
Hot Snakes,
The Victims,
Funky Four + One,
Eyeless In Gaza,
Gil Scott Heron,
Laurel Aitken,
Youth Brigade,
Tropical Tobacco,
The Zeros,
Can,
Unrelated Segments,
Jacob Miller,
Patti Smith,
Public Image Ltd.,
Little Man,
Inner City,
Visage,
Sugar Minott,
Young Marble Giants,
Ralphi Rosario,
Massinfluence,
China Crisis,
The Tremeloes,
Y Pants,
Wings,
Joyce Sims,
Derrick Morgan,
Zero Boys,
Morten Harket,
The Cosmic Jokers,
Blossom Toes,
Joy Division,
The Moleskins,
The Seeds,
Jesper Dahlback,
The Cramps,
Essential Logic,
Lee Hazlewood, Lee Hazlewood, Lee Hazlewood, Lee Hazlewood.
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.