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 Portland.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Manchester and Calgary.
I'm losing my edge to the art-school Paris 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the synthesizer 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 Ronnie Foster to the funk kids.
I played it at the Spitz.
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 The Offenders. All the underground hits.
All Rhythim Is Rhythim tracks. I heard you have a vinyl of every Donald Byrd 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 '70s cut and another box set from the '80s.
I hear you're buying a spring reverb and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Isaac Hayes record.
I hear that you and your band have sold your 808 and bought a marimba.
I hear that you and your band have sold your marimba and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rod Modell,
Richard Hell and the Voidoids,
Skriet,
Anthony Braxton,
Japan,
Guru Guru,
This Heat,
Rhythm & Sound,
Bill Wells,
Electric Prunes,
Donny Hathaway,
Masters at Work,
Juan Atkins,
The Litter,
Deutsch Amerikanische Freundschaft,
Archie Shepp,
Saccharine Trust,
D'Angelo,
Goldenarms,
The Smoke,
The Walker Brothers,
Neu!,
Wire,
Dorothy Ashby,
The Five Americans,
Lalo Schifrin,
London Community Gospel Choir,
Cecil Taylor,
Urselle,
Ajijia Myrayebe,
The Moody Blues,
Thinking Fellers Union Local 282,
Jesper Dahlback,
The Invisible,
The Neon Judgement,
Sly & The Family Stone,
The Zeros,
Ituana,
Roxette,
The Searchers,
Jeff Mills,
The Divine Comedy,
The Flesh Eaters,
Mark Hollis,
The Royal Family And The Poor,
Suicide,
Cameo,
Animal Collective,
Mandrill,
Stereo Dub,
Simply Red,
Massinfluence,
Art Ensemble Of Chicago,
The Sound,
Bluetip,
the Association,
The Mummies,
The American Breed,
La Düsseldorf, La Düsseldorf, La Düsseldorf, La Düsseldorf.
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.