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 Bosnia Herzegovina and from Taipei.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Philadelphia and Glasgow.
I'm losing my edge to the art-school Spokane 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 organ 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 Delon & Dalcan to the techno 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 LL Cool J. All the underground hits.
All Harry Pussy tracks. I heard you have a vinyl of every Sparks record on German import.
I heard that you have a white label of every seminal disco 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 mellotron and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Graham Central Station record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Girls At Our Best!,
Lou Christie,
DJ Style,
the Association,
Easy Going,
Anthony Braxton,
Graham Central Station,
The Moleskins,
Robert Hood,
Alison Limerick,
CMW,
Aswad,
Excepter,
Aaron Thompson,
Avey Tare,
Surgeon,
Strawberry Alarm Clock,
Derrick Morgan,
Mandrill,
Sun Ra,
Wally Richardson,
Scientists,
Kas Product,
The Offenders,
Roger Hodgson,
Rod Modell,
UT,
The Music Machine,
Kayak,
Flipper,
Scratch Acid,
Bootsy's Rubber Band,
Chrome,
Fort Wilson Riot,
Mr. Review,
Freddie Wadling,
Second Layer,
Skaos,
Bobby Womack,
The Gladiators,
Frankie Knuckles,
Animal Collective,
Harmonia,
Jandek,
Pylon,
Judy Mowatt,
X-102,
Radiopuhelimet,
Idris Muhammad,
the Bar-Kays,
Soulsonic Force,
Adolescents,
New Order,
ABC,
Ajijia Myrayebe,
Mad Mike,
Derrick May,
Cymande,
Jeff Mills,
The Blues Magoos,
Groovy Waters,
Liliput, Liliput, Liliput, Liliput.
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.