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 Antigua 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 1966 to 1973.
I'm losing my edge.
To all the kids in Columbus and Manila.
I'm losing my edge to the art-school Lyon 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the spring reverb sounds with much patience.
I was there when Donald Fagen 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 Aaron Thompson to the grime kids.
I played it at the Crocodile.
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 World's Most. All the underground hits.
All Sight & Sound tracks. I heard you have a vinyl of every Leonard Cohen record on German import.
I heard that you have a white label of every seminal grunge 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 harpsichord and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Max Romeo record.
I hear that you and your band have sold your theremin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott-Heron & Brian Jackson,
Anakelly,
Crash Course in Science,
Funky Four + One,
Agent Orange,
Public Enemy,
The Durutti Column,
The Divine Comedy,
Rotary Connection,
Lou Christie,
Scientists,
Sex Pistols,
The Index,
Royal Trux,
Cecil Taylor,
The Count Five,
Justin Hinds & The Dominoes,
Joensuu 1685,
Jesper Dahlback,
Bill Near,
Procol Harum,
Grauzone,
Teenage Jesus and the Jerks,
Goldenarms,
Amazonics,
Sam Rivers,
Siglo XX,
Yusef Lateef,
Moby Grape,
Gil Scott Heron,
Prince Buster,
A Certain Ratio,
The Techniques,
Drexciya,
Joy Division,
Boz Scaggs,
The Mojo Men,
Kool G Rap & DJ Polo,
Gabor Szabo,
Henry Cow,
Suicide,
Newcleus,
Jacob Miller,
Kurtis Blow,
Sonic Youth,
the Association,
Deutsch Amerikanische Freundschaft,
CMW,
Matthew Halsall,
Yazoo,
Public Image Ltd.,
the Sonics,
Zapp,
The Red Krayola,
Roxette,
Dual Sessions,
Altered Images,
Mo-Dettes,
The Neon Judgement,
Bill Wells, Bill Wells, Bill Wells, Bill Wells.
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.