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 Finland and from Beijing.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Milan and Calgary.
I'm losing my edge to the art-school Madrid 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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the theremin 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 Ornette Coleman to the grunge kids.
I played it at the Crocodile.
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 Blackbyrds. All the underground hits.
All June of 44 tracks. I heard you have a vinyl of every Tomorrow record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a synthesizer and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kenny Larkin,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Funkadelic,
Franke,
The United States of America,
Bang On A Can,
Sun Ra Arkestra,
Grey Daturas,
The Real Kids,
Maleditus Sound,
Kevin Saunderson,
New Age Steppers,
Gil Scott-Heron & Brian Jackson,
Trumans Water,
Arthur Verocai,
Gregory Isaacs,
Reuben Wilson,
The Toasters,
Barbara Tucker,
Ajijia Myrayebe,
Nick Fraelich,
Rosa Yemen,
Leonard Cohen,
Essential Logic,
Chris & Cosey,
Mandrill,
Scott Walker + Sunn O))),
Gang Gang Dance,
Eric B and Rakim,
Jeru the Damaja,
The Chocolate Watch Band,
Byron Stingily,
Japan,
Eric Copeland,
Justin Hinds & The Dominoes,
Whodini,
Bob Dylan,
Procol Harum,
The Peanut Butter Conspiracy,
ABBA,
Jimmy McGriff,
DNA,
Ken Boothe,
Lee Hazlewood,
Alice Coltrane,
Joey Negro,
Electric Light Orchestra,
Ornette Coleman,
Dennis Brown,
John Coltrane,
Sun Ra,
MDC,
Man Eating Sloth,
Pulsallama,
Glambeats Corp.,
B.T. Express,
Visionaries,LMNO, T- Love & Iriscience,
Andrew Ashong & Theo Parrish,
The Gories,
Deutsch Amerikanische Freundschaft,
Pet Shop Boys,
the Germs,
Jacques Brel, Jacques Brel, Jacques Brel, Jacques Brel.
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.