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 Saudi Arabia and from Spokane.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Accra and Lagos.
I'm losing my edge to the art-school Woodstock 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 Beasts of Bourbon to the grime kids.
I played it at Cafe Wha.
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 Japan. All the underground hits.
All Arab on Radar tracks. I heard you have a vinyl of every Blossom Toes record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a snare and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Siglo XX 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?
Amon Düül,
Masters at Work,
Minnie Riperton,
Bill Near,
Man Parrish,
Motorama,
The Walker Brothers,
Crime,
Bad Manners,
Ornette Coleman,
Sly & The Family Stone,
Gong,
UT,
Pylon,
Neu!,
Sam Rivers,
Bobby Byrd,
Robert Görl,
Sparks,
Scan 7,
Wally Richardson,
The Angels of Light,
Cecil Taylor,
The Human League,
Crooked Eye,
Ash Ra Tempel,
OOIOO,
X-Ray Spex,
Faust,
Mission of Burma,
Joyce Sims,
Tres Demented,
Arthur Verocai,
The West Coast Pop Art Experimental Band,
The Tremeloes,
June of 44,
Fad Gadget,
Ponytail,
Colin Newman,
Animal Collective,
The Vogues,
The Mojo Men,
kango's stein massive,
Visage,
Scott Walker,
Captain Beefheart & His Magic Band,
Arcadia,
The Residents,
Soul II Soul,
New Age Steppers,
Camberwell Now,
Tim Buckley,
The Flesh Eaters,
Maleditus Sound,
a-ha,
Nico,
Average White Band,
Gabor Szabo,
Juan Atkins,
The Moody Blues,
EPMD,
Fifty Foot Hose,
Fela Kuti,
Nation of Ulysses, Nation of Ulysses, Nation of Ulysses, Nation of Ulysses.
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.