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 Lithuania and from Stockholm.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1962 to 1978.
I'm losing my edge.
To all the kids in Shanghai and Taipei.
I'm losing my edge to the art-school Houston 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 mellotron sounds with much patience.
I was there when Tom Verlaine 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 Bill Near to the crunk 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 Captain Beefheart & His Magic Band. All the underground hits.
All the Sonics tracks. I heard you have a vinyl of every Blake Baxter record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a chamberlin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Magma record.
I hear that you and your band have sold your oboe and bought a 808.
I hear that you and your band have sold your 808 and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Spandau Ballet,
Suicide,
Morten Harket,
Eli Mardock,
Louis and Bebe Barron,
The West Coast Pop Art Experimental Band,
Symarip,
Pierre Henry,
Jeru the Damaja,
Deutsch Amerikanische Freundschaft,
Rites of Spring,
Pulsallama,
Pantytec,
The Leaves,
Soul II Soul,
Barry Ungar,
The Mojo Men,
Matthew Bourne,
Cecil Taylor,
Amon Düül,
Quando Quango,
Sugar Minott,
Al Stewart,
Gang of Four,
Tomorrow,
Michelle Simonal,
Wire,
Joe Smooth,
Black Bananas,
Basic Channel,
Can,
Deadbeat,
Ultramagnetic MC's,
Blake Baxter,
The Chocolate Watch Band,
Clear Light,
Ornette Coleman,
Sarah Menescal,
The Moleskins,
Agitation Free,
Au Pairs,
Rhythim Is Rhythim,
Visionaries,LMNO, T- Love & Iriscience,
The Martian,
Kaleidoscope,
Sunsets and Hearts,
Japan,
MDC,
Desert Stars,
The J.B.'s,
Dual Sessions,
Bob Dylan,
Byron Stingily,
It's A Beautiful Day,
Magazine,
Slave,
Hasil Adkins,
Magma,
John Lydon,
Eric Dolphy,
June of 44,
Joyce Sims,
Letta Mbulu,
One Last Wish,
Lonnie Liston Smith, Lonnie Liston Smith, Lonnie Liston Smith, Lonnie Liston Smith.
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.