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 Czech Republic and from Lagos.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Glasgow and Milan.
I'm losing my edge to the art-school Portland 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 snare sounds with much patience.
I was there when Holger Czukay 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 Scratch Acid to the jazz 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 Marshall Jefferson. All the underground hits.
All Isaac Hayes tracks. I heard you have a vinyl of every The Wake record on German import.
I heard that you have a white label of every seminal jazz 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 theremin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Bush Tetras record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Subhumans,
Bill Wells,
The Smoke,
Spandau Ballet,
Kerri Chandler,
The Velvet Underground,
the Fania All-Stars,
Bang On A Can,
Brick,
The Fall,
The Invisible,
Ultramagnetic MC's,
The United States of America,
The Shadows of Knight,
Eyeless In Gaza,
Make Up,
Motorama,
Fifty Foot Hose,
John Foxx,
Ornette Coleman,
Gichy Dan,
David Bowie,
Smog,
Public Image Ltd.,
Zapp,
Patti Smith,
World's Most,
Absolute Body Control,
Roger Hodgson,
Ponytail,
Urselle,
Panda Bear,
The Red Krayola,
Peter and Kerry,
Amazonics,
Talk Talk,
Aural Exciters,
The Gap Band,
Camberwell Now,
Orchestral Manoeuvres in the Dark,
Lucky Dragons,
The Gladiators,
Curtis Mayfield,
Rod Modell,
Newcleus,
Lightning Bolt,
Khruangbin,
The Divine Comedy,
Jeff Lynne,
Fugazi,
Matthew Bourne,
Juan Atkins,
The Victims,
One Last Wish,
Bauhaus,
Magma,
Jimmy McGriff,
Crooked Eye,
Letta Mbulu,
Larry & the Blue Notes,
The Last Poets,
Delta 5,
Bobby Womack,
Brand Nubian, Brand Nubian, Brand Nubian, Brand Nubian.
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.