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 Angola and from Copenhagen.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1970.
I'm losing my edge.
To all the kids in Halifax and Sao Paulo.
I'm losing my edge to the art-school Manchester 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the spring reverb 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 Ash Ra Tempel to the rap kids.
I played it at the Roxy.
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 Quadrant. All the underground hits.
All De La Soul & Jungle Brothers tracks. I heard you have a vinyl of every Blossom Toes record on German import.
I heard that you have a white label of every seminal techno 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 synthesizer and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Graham Central Station record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Andrew Hill,
The Doors,
Gian Franco Pienzio,
kango's stein massive,
Spoonie Gee,
Donny Hathaway,
Dave Gahan,
Roy Ayers Ubiquity,
Camouflage,
Scott Walker,
Soulsonic Force,
Prince Buster,
Interpol,
Harmonia,
Dead Boys,
Desert Stars,
Bizarre Inc.,
Main Source,
E-Dancer,
It's A Beautiful Day,
Youth Brigade,
Fear,
Judy Mowatt,
R.M.O.,
MDC,
Eden Ahbez,
Louis and Bebe Barron,
cv313,
Sunsets and Hearts,
Tomorrow,
John Holt,
Bronski Beat,
Marvin Gaye,
Grandmaster Flash and the Furious Five,
Stereo Dub,
The Moleskins,
Alphaville,
Jeru the Damaja,
The Durutti Column,
Reuben Wilson,
Pylon,
John Cale,
Second Layer,
The Electric Prunes,
Bush Tetras,
Maurizio,
Ultravox,
DNA,
Lou Reed,
The Walker Brothers,
Jacques Brel,
X-Ray Spex,
Super Lover Cee & Casanova Rud,
Q65,
Kayak,
Saccharine Trust,
Toni Rubio,
Sandy B,
Beasts of Bourbon,
Fad Gadget,
Frankie Knuckles,
De La Soul & Jungle Brothers,
Parry Music, Parry Music, Parry Music, Parry Music.
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.