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 Kenya and from Paris.
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 1963 to 1972.
I'm losing my edge.
To all the kids in Mumbai and Johannesburg.
I'm losing my edge to the art-school London 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 808 sounds with much patience.
I was there when Tom Verlaine 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 Eurythmics to the jazz kids.
I played it at Trash.
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 Avey Tare. All the underground hits.
All Pere Ubu tracks. I heard you have a vinyl of every The Move record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a theremin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Fall record.
I hear that you and your band have sold your 808 and bought a sitar.
I hear that you and your band have sold your sitar and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ronnie Foster,
Bizarre Inc.,
Idris Muhammad,
The Fortunes,
The Residents,
Bootsy's Rubber Band,
The Detroit Cobras,
Michelle Simonal,
Kool G Rap & DJ Polo,
Theoretical Girls,
The West Coast Pop Art Experimental Band,
John Holt,
The Vogues,
Dual Sessions,
The Selecter,
Fad Gadget,
Peter & Gordon,
Manfred Mann's Earth Band,
Black Sheep,
Albert Ayler,
Aaron Thompson,
Juan Atkins,
Dead Boys,
MC5,
Ajijia Myrayebe,
Babytalk,
Joensuu 1685,
Sandy B,
New Order,
Justin Hinds & The Dominoes,
DNA,
CMW,
In Retrospect,
Hasil Adkins,
Khruangbin,
Can,
Glenn Branca,
DeepChord presents Echospace,
Stockholm Monsters,
David McCallum,
Brand Nubian,
Colin Newman,
Audionom,
Fear,
Graham Central Station,
Flipper,
E-Dancer,
Mantronix,
Porter Ricks,
Avey Tare & Kría Brekkan,
Ohio Players,
U.S. Maple,
Cal Tjader,
Agent Orange,
The Men They Couldn't Hang,
The Doors,
Pierre Henry,
Ludus,
The Raincoats,
Dave Gahan,
The Music Machine, The Music Machine, The Music Machine, The Music Machine.
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.