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 Oman and from Accra.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1974.
I'm losing my edge.
To all the kids in Paris and London.
I'm losing my edge to the art-school Stockholm 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the mellotron 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 Electric Prunes to the grunge 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 Mary Jane Girls. All the underground hits.
All Angry Samoans tracks. I heard you have a vinyl of every EPMD 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 '80s cut and another box set from the '90s.
I hear you're buying an organ and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Fat Boys record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultramagnetic MC's,
Orchestral Manoeuvres in the Dark,
Dorothy Ashby,
Roxette,
Stereo Dub,
Bush Tetras,
Metal Thangz,
Schoolly D,
Kurtis Blow,
Groovy Waters,
John Cale,
Los Fastidios,
KRS-One,
Bizarre Inc.,
The Doobie Brothers,
Gabor Szabo,
Susan Cadogan,
X-Ray Spex,
R.M.O.,
Sight & Sound,
Kango’s Stein Massive,
Connie Case,
Tommy Roe,
The Skatalites,
The Toasters,
Tomorrow,
Boredoms,
Slave,
Sun Ra Arkestra,
Swell Maps,
DeepChord presents Echospace,
Lizzy Mercier Descloux,
Lucky Dragons,
One Last Wish,
Slick Rick,
Gil Scott Heron,
Josef K,
The Offenders,
DNA,
Davy DMX,
Jeru the Damaja,
The Electric Prunes,
The Flesh Eaters,
Von Mondo,
Matthew Halsall,
Sarah Menescal,
Selector Dub Narcotic,
A Flock of Seagulls,
Magma,
The Slits,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Ajijia Myrayebe,
Althea and Donna,
Lee Hazlewood,
Goldenarms,
the Slits,
Idris Muhammad,
The Searchers,
Deakin,
The Gladiators,
The Busters, The Busters, The Busters, The Busters.
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.