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 Korea South and from Sao Paulo.
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 1962 to 1973.
I'm losing my edge.
To all the kids in Columbus and Shanghai.
I'm losing my edge to the art-school Woodstock 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the chamberlin sounds with much patience.
I was there when Nile Rodgers 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 China Crisis to the grime 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 Popol Vuh. All the underground hits.
All Sällskapet tracks. I heard you have a vinyl of every Pylon record on German import.
I heard that you have a white label of every seminal funk 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 theremin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Average White Band record.
I hear that you and your band have sold your clarinet and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oppenheimer Analysis,
Con Funk Shun,
Motorama,
Pierre Henry,
The Fortunes,
Ajijia Myrayebe,
Jesper Dahlbäck,
Ronnie Foster,
Michelle Simonal,
Easy Going,
Adolescents,
Cabaret Voltaire,
Byron Stingily,
Jerry Gold Smith,
Urselle,
Fad Gadget,
D'Angelo,
Nik Kershaw,
Panda Bear,
Popol Vuh,
Soul Sonic Force,
Throbbing Gristle,
Angry Samoans,
Moss Icon,
Laurel Aitken,
Pete Rock & C.L. Smooth,
Country Joe & The Fish,
Scrapy,
Bush Tetras,
Masters at Work,
Minnie Riperton,
Whodini,
Deutsch Amerikanische Freundschaft,
Arthur Verocai,
The Move,
In Retrospect,
Sunsets and Hearts,
Siglo XX,
Quando Quango,
The Misunderstood,
Minor Threat,
Anakelly,
A Certain Ratio,
Sonic Youth,
Flipper,
The Detroit Cobras,
KRS-One,
Notorious Big And Bone Thugs,
Vladislav Delay,
Sugar Minott,
Parry Music,
The Offenders,
Arcadia,
Dead Boys,
Lou Christie,
Lindisfarne,
The Seeds,
Peter and Kerry,
Simply Red,
Bill Wells,
Los Fastidios,
Aural Exciters, Aural Exciters, Aural Exciters, Aural Exciters.
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.