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 Kazakhstan and from Lagos.
But I was there.
I was there in 1967.
I was there at the first Rodriguez 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 1962 to 1978.
I'm losing my edge.
To all the kids in Accra and Sao Paulo.
I'm losing my edge to the art-school Salvador 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 marimba sounds with much patience.
I was there when Captain Beefheart 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 Man Parrish to the jazz kids.
I played it at the Astoria.
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 Eyeless In Gaza. All the underground hits.
All Pantaleimon tracks. I heard you have a vinyl of every Howard Jones record on German import.
I heard that you have a white label of every seminal dance 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 mellotron and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a James Chance & The Contortions record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Deepchord,
New Age Steppers,
Thompson Twins,
The United States of America,
Sunsets and Hearts,
The Stooges,
This Heat,
Model 500,
Byron Stingily,
Super Lover Cee & Casanova Rud,
Stetsasonic,
Mandrill,
Nico,
Khruangbin,
the Association,
Aswad,
Depeche Mode,
Clear Light,
Davy DMX,
The Fire Engines,
Peter & Gordon,
The Alarm Clocks,
The Searchers,
The Peanut Butter Conspiracy,
Eric Dolphy,
Avey Tare,
48th St. Collective,
Red Lorry Yellow Lorry,
Junior Murvin,
Vladislav Delay,
Gang Green,
Fort Wilson Riot,
Ten City,
Colin Newman,
Kevin Saunderson,
AZ,
Kango’s Stein Massive,
The Neon Judgement,
the Slits,
Angry Samoans,
Stockholm Monsters,
The Evens,
Gichy Dan,
Lucky Dragons,
Ash Ra Tempel,
Gang Starr,
Severed Heads,
B.T. Express,
The Gap Band,
Quadrant,
John Lydon,
Crispy Ambulance,
Buzzcocks,
Bizarre Inc.,
Kayak,
Urselle,
John Cale,
Lindisfarne,
These Immortal Souls,
The Dead C,
Jeru the Damaja, Jeru the Damaja, Jeru the Damaja, Jeru the Damaja.
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.