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 Mozambique and from Sao Paulo.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Shanghai and Woodstock.
I'm losing my edge to the art-school Stockholm 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the snare 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 Kas Product to the jazz 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 Young Rascals. All the underground hits.
All Slave tracks. I heard you have a vinyl of every Letta Mbulu record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a chamberlin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Stereo Dub record.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Yazoo,
Sex Pistols,
Ultravox,
Barrington Levy,
Surgeon,
Lower 48,
Jesper Dahlback,
Bill Wells,
Jimmy McGriff,
Avey Tare & Kría Brekkan,
Schoolly D,
Boogie Down Productions,
Erykah Badu,
Arthur Verocai,
The Associates,
Interpol,
A Flock of Seagulls,
Smog,
Jeff Lynne,
Dorothy Ashby,
Whodini,
The Royal Family And The Poor,
The Dirtbombs,
Gary Puckett & The Union Gap,
Main Source,
Angry Samoans,
Joey Negro,
Sällskapet,
China Crisis,
Thompson Twins,
Bobbi Humphrey,
The Velvet Underground,
Ronnie Foster,
Andrew Ashong & Theo Parrish,
Joe Smooth,
Siglo XX,
Soft Machine,
Depeche Mode,
Ice-T,
Unrelated Segments,
The Count Five,
The Jesus and Mary Chain,
X-Ray Spex,
The Gories,
Letta Mbulu,
Newcleus,
the Normal,
Kayak,
Infiniti,
Roy Ayers Ubiquity,
Cabaret Voltaire,
Todd Terry,
Al Stewart,
The Cowsills,
Cluster,
Ponytail,
Lou Reed,
Wire,
Andrew Hill,
Fat Boys,
Lakeside,
The Happenings, The Happenings, The Happenings, The Happenings.
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.