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 United Kingdom and from Glasgow.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Houston and Glasgow.
I'm losing my edge to the art-school Hong Kong 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the organ sounds with much patience.
I was there when Donald Fagen 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 Derrick Morgan 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 The Velvet Underground. All the underground hits.
All Sexual Harrassment tracks. I heard you have a vinyl of every Ultra Naté 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 '80s cut and another box set from the '80s.
I hear you're buying a linndrum and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Audionom record.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ralphi Rosario,
Fatback Band,
Rakim,
Moby Grape,
The Star Department,
London Community Gospel Choir,
The Raincoats,
Gabor Szabo,
Loose Ends,
X-102,
Yellowson,
Rhythm & Sound,
Pere Ubu,
Fat Boys,
Peter and Kerry,
Excepter,
Minutemen,
Goldenarms,
Jesper Dahlback,
Make Up,
Thompson Twins,
Erasure,
Johnny Clarke,
The Smiths,
Roger Hodgson,
The Martian,
Television,
Cabaret Voltaire,
Black Sheep,
The Knickerbockers,
Bobbi Humphrey,
Minnie Riperton,
Stetsasonic,
Althea and Donna,
Kerrie Biddell,
The Sisters of Mercy,
Guru Guru,
Aswad,
Basic Channel,
The Young Rascals,
Duran Duran,
Graham Central Station,
The Invisible,
the Slits,
Wire,
Grauzone,
Shoche,
Technova,
B.T. Express,
Au Pairs,
Newcleus,
Symarip,
Nick Cave & The Bad Seeds,
Chris & Cosey,
Dark Day,
The Neon Judgement,
Morten Harket,
EPMD,
This Heat,
Grandmaster Flash and the Furious Five,
Dawn Penn,
Stiv Bators,
Gil Scott-Heron and Jamie xx, Gil Scott-Heron and Jamie xx, Gil Scott-Heron and Jamie xx, Gil Scott-Heron and Jamie xx.
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.