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 Malta and from Tokyo.
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 1977.
I'm losing my edge.
To all the kids in Tehran and Cairo.
I'm losing my edge to the art-school Taipei 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 1976 at the first Chic practice in a loft in New York.
I was working on the synthesizer sounds with much patience.
I was there when David Bowie 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 Sarah Menescal to the funk 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 Terry Callier. All the underground hits.
All Juan Atkins tracks. I heard you have a vinyl of every Minny Pops record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a theremin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Oneida record.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ken Boothe,
Saccharine Trust,
Be Bop Deluxe,
Rhythm & Sound,
Pet Shop Boys,
Loose Ends,
Eden Ahbez,
Bobby Byrd,
The Fire Engines,
Can,
Ronnie Foster,
Archie Shepp,
Cecil Taylor,
Stockholm Monsters,
Vainqueur,
The Blackbyrds,
Rod Modell,
Lou Reed,
Marc Almond,
JFA,
Oblivians,
Franke,
Main Source,
Bill Near,
Agent Orange,
Dr. Dre and Snoop Doggy Dog,
Country Joe & The Fish,
The Young Rascals,
Pierre Henry,
Kevin Saunderson,
The Remains,
Grauzone,
Ice-T,
Charles Mingus,
Todd Terry,
Matthew Halsall,
Wire,
Gil Scott Heron,
Adolescents,
Heavy D & The Boyz,
Von Mondo,
Alice Coltrane,
Scratch Acid,
OOIOO,
Depeche Mode,
Red Lorry Yellow Lorry,
Joensuu 1685,
The Red Krayola,
Cameo,
June Days,
David Bowie,
Brothers Johnson,
Deutsch Amerikanische Freundschaft,
Silicon Teens,
Tears for Fears,
Barry Ungar,
Television,
Barrington Levy,
Minor Threat,
CMW, CMW, CMW, CMW.
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.