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 Japan and from Manchester.
But I was there.
I was there in 1967.
I was there at the first Rodriguez 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 1963 to 1971.
I'm losing my edge.
To all the kids in Houston and Spokane.
I'm losing my edge to the art-school Portland 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the theremin 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 KRS-One to the jazz kids.
I played it at the Spitz.
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 Fear. All the underground hits.
All Radiopuhelimet tracks. I heard you have a vinyl of every Janne Schatter 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 '80s cut and another box set from the '90s.
I hear you're buying an oboe and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Mars record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cybotron,
Davy DMX,
Cymande,
Ponytail,
Lonnie Liston Smith,
The Standells,
U.S. Maple,
Crispy Ambulance,
Captain Beefheart & His Magic Band,
Gang Gang Dance,
Yazoo,
David Axelrod,
The Neon Judgement,
X-Ray Spex,
Joensuu 1685,
Dark Day,
Altered Images,
Gil Scott-Heron & Brian Jackson,
Oppenheimer Analysis,
Procol Harum,
Sandy B,
The Dave Clark Five,
Radio Birdman,
Nik Kershaw,
Rufus Thomas,
Babytalk,
Country Teasers,
Negative Approach,
Pagans,
The Alarm Clocks,
Circle Jerks,
Porter Ricks,
Sun Ra Arkestra,
Monolake,
A Certain Ratio,
Big Daddy Kane,
Alton Ellis,
Pole,
The Index,
Nas,
Deakin,
Brand Nubian,
Max Romeo,
Mr. Review,
Marmalade,
Faraquet,
Jeru the Damaja,
Toni Rubio,
Cluster,
T.S.O.L.,
Freddie Wadling,
Cecil Taylor,
Sällskapet,
Vaughan Mason & Crew,
Godley & Creme,
Unwound,
Interpol,
Al Stewart,
Alice Coltrane,
CMW,
Boredoms,
JFA,
Absolute Body Control, Absolute Body Control, Absolute Body Control, Absolute Body Control.
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.