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 Bulgaria and from Lagos.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Toronto and New York.
I'm losing my edge to the art-school Houston 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the linndrum 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 Ralphi Rosario to the electroclash 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 Flash Fearless. All the underground hits.
All The American Breed tracks. I heard you have a vinyl of every Scratch Acid record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a mellotron and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Pylon record.
I hear that you and your band have sold your linndrum and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Godley & Creme,
The Mighty Diamonds,
Throbbing Gristle,
The Slits,
Peter Gordon & Love of Life Orchestra,
Robert Wyatt,
Barbara Tucker,
Intrusion,
Rod Modell,
Los Fastidios,
Susan Cadogan,
Ronan,
New York Dolls,
Ornette Coleman,
Babytalk,
Severed Heads,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Pulsallama,
The Names,
Gian Franco Pienzio,
Strawberry Alarm Clock,
Delon & Dalcan,
David Axelrod,
Vainqueur,
Lebanon Hanover,
Wolf Eyes,
Louis and Bebe Barron,
Sonny Sharrock,
Section 25,
Altered Images,
Magma,
Freddie Wadling,
Radio Birdman,
James Chance & The Contortions,
The Fall,
Chrome,
Stiv Bators,
Todd Terry,
The Alarm Clocks,
Marmalade,
Maleditus Sound,
Outsiders,
The Moody Blues,
FM Einheit,
The Red Krayola,
PIL,
T. Rex,
Scan 7,
Lonnie Liston Smith,
Niagra,
The Gun Club,
Sly & The Family Stone,
the Germs,
Electric Light Orchestra,
Shuggie Otis,
Girls At Our Best!,
Captain Beefheart & His Magic Band,
The Associates,
Brass Construction,
The Vogues,
Eyeless In Gaza,
Man Parrish, Man Parrish, Man Parrish, Man Parrish.
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.