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 Andorra and from Salvador.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Beijing and Calgary.
I'm losing my edge to the art-school New York 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the oboe 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 Ash Ra Tempel to the electroclash kids.
I played it at the Astoria.
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 The Black Dice. All the underground hits.
All The Doors tracks. I heard you have a vinyl of every The J.B.'s record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
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 Kurtis Blow record.
I hear that you and your band have sold your harpsichord and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stetsasonic,
Rotary Connection,
Pierre Henry,
Bill Wells,
The Stooges,
Robert Wyatt,
the Soft Cell,
Audionom,
Todd Rundgren,
Sugar Minott,
The Cowsills,
The Happenings,
Mandrill,
David Bowie,
Main Source,
Robert Hood,
Mark Hollis,
David McCallum,
The Evens,
Oneida,
Girls At Our Best!,
Crispy Ambulance,
FM Einheit,
Joensuu 1685,
Maleditus Sound,
Radiopuhelimet,
Andrew Hill,
Flipper,
Mr. Review,
The Offenders,
Bobby Sherman,
Alphaville,
Swans,
Popol Vuh,
Glambeats Corp.,
Faraquet,
The Chocolate Watch Band,
Terrestrial Tones,
Supertramp,
Barclay James Harvest,
Cluster,
Bronski Beat,
Selector Dub Narcotic,
Quantec,
The Standells,
JFA,
Cabaret Voltaire,
Aural Exciters,
Vaughan Mason & Crew,
Connie Case,
Rites of Spring,
Glenn Branca,
The Cramps,
Livin' Joy,
Country Teasers,
Johnny Clarke,
the Slits,
Crime,
Minor Threat,
Avey Tare & Kría Brekkan, Avey Tare & Kría Brekkan, Avey Tare & Kría Brekkan, Avey Tare & Kría Brekkan.
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.