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 Switzerland and from Lyon.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Delhi and Jakarta.
I'm losing my edge to the art-school Toronto 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 clarinet sounds with much patience.
I was there when Lou Reed 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 Liaisons Dangereuses to the disco kids.
I played it at the Hacienda.
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 Man Parrish. All the underground hits.
All Masta Ace, Craig G, Kool G Rap, Big Daddy Kane tracks. I heard you have a vinyl of every Con Funk Shun 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 '70s cut and another box set from the '80s.
I hear you're buying a sitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Lafayette Afro Rock Band record.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kango’s Stein Massive,
Piero Umiliani,
Rhythm & Sound,
Spoonie Gee,
Robert Wyatt,
Bootsy Collins,
Siouxsie and the Banshees,
The Sound,
Sight & Sound,
Pylon,
The Slackers,
Red Lorry Yellow Lorry,
Carl Craig,
Khruangbin,
Arcadia,
Sad Lovers and Giants,
Japan,
Alice Coltrane,
The Real Kids,
This Heat,
Pussy Galore,
Stiv Bators,
Johnny Clarke,
Ajijia Myrayebe,
James White and The Blacks,
Suburban Knight,
Monks,
Lindisfarne,
Circle Jerks,
Half Japanese,
Dr. Dre and Snoop Doggy Dog,
Amazonics,
The Five Americans,
Aural Exciters,
Parry Music,
Swans,
Jeff Mills,
Dead Boys,
a-ha,
Lucky Dragons,
Rufus Thomas,
The J.B.'s,
The Royal Family And The Poor,
Deadbeat,
Jawbox,
The Mummies,
Theoretical Girls,
Bill Wells,
Lyres,
The Litter,
Marc Romboy vs. Booka Shade,
Alton Ellis,
Grey Daturas,
Inner City,
Ludus,
The Dirtbombs,
Sandy B,
Outsiders,
Faraquet,
the Association, the Association, the Association, the Association.
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.