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 Morocco and from Manchester.
But I was there.
I was there in 1980.
I was there at the first Cybotron 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 1969 to 1973.
I'm losing my edge.
To all the kids in Calgary and Portland.
I'm losing my edge to the art-school Manila 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 Feelies practice in a loft in Haledon.
I was working on the clarinet 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 Angels of Light & Akron/Family to the rap kids.
I played it at the Astoria.
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 Oneida. All the underground hits.
All The Barracudas tracks. I heard you have a vinyl of every F. McDonald 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 '70s.
I hear you're buying a guitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Rhythm & Sound record.
I hear that you and your band have sold your rhodes and bought a sitar.
I hear that you and your band have sold your sitar and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Severed Heads,
PIL,
Oppenheimer Analysis,
Howard Jones,
The Selecter,
Soft Machine,
Carl Craig,
Pantytec,
JFA,
Rekid,
Magma,
The Knickerbockers,
Moss Icon,
James White and The Blacks,
Gabor Szabo,
The Slits,
Kings Of Tomorrow,
Michelle Simonal,
The Human League,
DNA,
Selector Dub Narcotic,
Cal Tjader,
Marcia Griffiths,
Albert Ayler,
Simply Red,
Marine Girls,
Dead Boys,
The Smiths,
Sparks,
Graham Central Station,
The Toasters,
Alphaville,
The Standells,
Josef K,
Pete Rock & C.L. Smooth,
Heaven 17,
Hasil Adkins,
Cecil Taylor,
Sarah Menescal,
Larry & the Blue Notes,
Louis and Bebe Barron,
The Busters,
Icehouse,
Quadrant,
Leonard Cohen,
Robert Wyatt,
Glambeats Corp.,
CMW,
Sun Ra Arkestra,
Essential Logic,
Sonny Sharrock,
The American Breed,
Art Ensemble Of Chicago,
The Divine Comedy,
Juan Atkins,
Roxy Music,
Deadbeat,
Das Ding,
Cabaret Voltaire,
Aaron Thompson,
Eden Ahbez,
DJ Style, DJ Style, DJ Style, DJ Style.
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.