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 Lesotho and from Stockholm.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1971.
I'm losing my edge.
To all the kids in Calgary and Portland.
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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the arpeggiator sounds with much patience.
I was there when Lou Reed 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 Colin Newman to the grunge 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 Robert Görl. All the underground hits.
All The Smiths tracks. I heard you have a vinyl of every Dave Gahan record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a marimba and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Bush Tetras record.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
X-101,
KRS-One,
Curtis Mayfield,
Josef K,
John Holt,
Joe Finger,
Susan Cadogan,
Quando Quango,
Liaisons Dangereuses,
Blancmange,
Brass Construction,
Black Bananas,
DNA,
Underground Resistance,
Isaac Hayes,
These Immortal Souls,
Nick Cave & The Bad Seeds,
The American Breed,
Andrew Ashong & Theo Parrish,
Red Lorry Yellow Lorry,
Barry Ungar,
Duran Duran,
Erasure,
Minutemen,
Malaria!,
John Coltrane,
Thompson Twins,
Deutsch Amerikanische Freundschaft,
Eden Ahbez,
Godley & Creme,
Eli Mardock,
Cecil Taylor,
Arab on Radar,
Harpers Bizarre,
Carl Craig,
Icehouse,
Gil Scott-Heron and Jamie xx,
Chris & Cosey,
The Zeros,
Ice-T,
Gabor Szabo,
Deadbeat,
In Retrospect,
Eyeless In Gaza,
Art Ensemble Of Chicago,
Moebius,
L. Decosne,
Mo-Dettes,
Joe Smooth,
Charles Mingus,
Selector Dub Narcotic,
Simply Red,
Minor Threat,
Jacques Brel,
Black Sheep,
Swell Maps,
Kool Moe Dee,
The Jesus and Mary Chain,
Anthony Braxton,
Kerri Chandler,
Alice Coltrane,
Juan Atkins, Juan Atkins, Juan Atkins, Juan Atkins.
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.