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 Qatar and from Tehran.
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 1968 to 1976.
I'm losing my edge.
To all the kids in Beijing and Lagos.
I'm losing my edge to the art-school Bremen 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 theremin sounds with much patience.
I was there when Michael McDonald 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 Roxette to the electroclash kids.
I played it at the Troubador.
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 Nils Olav. All the underground hits.
All Dual Sessions tracks. I heard you have a vinyl of every The Monks record on German import.
I heard that you have a white label of every seminal punk 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 linndrum and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Art Ensemble Of Chicago 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?
The Trojans,
Half Japanese,
Soul II Soul,
Don Cherry,
cv313,
The Last Poets,
The Smoke,
Dennis Brown,
Ash Ra Tempel,
The Victims,
The Blackbyrds,
The Jesus and Mary Chain,
It's A Beautiful Day,
Fat Boys,
Ultramagnetic MC's,
Kool Moe Dee,
Sugar Minott,
Roxy Music,
Strawberry Alarm Clock,
Country Teasers,
A Certain Ratio,
Nils Olav,
The Names,
Justin Hinds & The Dominoes,
The Music Machine,
Moby Grape,
Rakim,
Niagra,
The Real Kids,
Vaughan Mason & Crew,
The Remains,
R.M.O.,
Fort Wilson Riot,
Boogie Down Productions,
the Normal,
Louis and Bebe Barron,
Tres Demented,
Amon Düül,
Blossom Toes,
The Cosmic Jokers,
Kango’s Stein Massive,
Bauhaus,
Grandmaster Flash,
Ronan,
F. McDonald,
Metal Thangz,
Howard Jones,
This Heat,
Reuben Wilson,
Duran Duran,
Deutsch Amerikanische Freundschaft,
Leonard Cohen,
Erasure,
Vladislav Delay,
Rites of Spring,
Danielle Patucci,
Youth Brigade,
the Association,
Funky Four + One,
Hashim,
JFA, JFA, JFA, JFA.
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.