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 Grenada and from Accra.
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 1961 to 1979.
I'm losing my edge.
To all the kids in Halifax and Accra.
I'm losing my edge to the art-school Lagos 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 linndrum sounds with much patience.
I was there when Tom Verlaine 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 The Music Machine to the jazz 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 Aaron Thompson. All the underground hits.
All Amazonics tracks. I heard you have a vinyl of every The Modern Lovers 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 '70s.
I hear you're buying a chamberlin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Judy Mowatt record.
I hear that you and your band have sold your snare and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Todd Terry,
The Modern Lovers,
Aswad,
The Evens,
Agitation Free,
The Monochrome Set,
Heavy D & The Boyz,
The Moody Blues,
Wings,
ABC,
Stereo Dub,
Andrew Ashong & Theo Parrish,
The Martian,
Angry Samoans,
Monolake,
MC5,
Sällskapet,
Buzzcocks,
The Fire Engines,
Minny Pops,
JFA,
The Pop Group,
Thinking Fellers Union Local 282,
Moss Icon,
Joe Smooth,
The Peanut Butter Conspiracy,
Groovy Waters,
Mad Mike,
Mission of Burma,
Whodini,
Easy Going,
Electric Light Orchestra,
Bill Near,
Lalann,
Art Ensemble Of Chicago,
Albert Ayler,
Lee Hazlewood,
Sparks,
Mandrill,
Thompson Twins,
Minnie Riperton,
The Dead C,
The Golliwogs,
Sound Behaviour,
Bobby Hutcherson,
Q65,
Tomorrow,
Anthony Braxton,
Janne Schatter,
Rhythim Is Rhythim,
Siouxsie and the Banshees,
Rosa Yemen,
Dave Gahan,
Gang Gang Dance,
Donny Hathaway,
Fela Kuti,
Ultimate Spinach,
Flash Fearless,
The Cramps,
Sonic Youth,
Crash Course in Science,
Brick, Brick, Brick, Brick.
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.