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 St Kitts & Nevis and from Johannesburg.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Accra and Bologna.
I'm losing my edge to the art-school Shanghai 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 sitar sounds with much patience.
I was there when Lou Reed 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 Wighnomy Brothers & Robag Wruhme to the funk kids.
I played it at CBGB's.
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 One Last Wish. All the underground hits.
All Arthur Verocai tracks. I heard you have a vinyl of every CMW 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 '50s cut and another box set from the '90s.
I hear you're buying a sitar and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Public Enemy record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Brand Nubian,
Wire,
Bronski Beat,
Gary Puckett & The Union Gap,
Tres Demented,
Drive Like Jehu,
Andrew Hill,
Funkadelic,
Rosa Yemen,
The Music Machine,
Joey Negro,
Panda Bear,
Sandy B,
X-Ray Spex,
The Martian,
Rites of Spring,
Urselle,
The Vogues,
Vladislav Delay,
F. McDonald,
Pharaoh Sanders and the Fire Engines,
Stetsasonic,
Sugar Minott,
Angry Samoans,
Soul Sonic Force,
Excepter,
Faraquet,
Bobbi Humphrey,
Anthony Braxton,
CMW,
Gong,
DNA,
Stiv Bators,
Piero Umiliani,
Oppenheimer Analysis,
Roger Hodgson,
8 Eyed Spy,
Louis and Bebe Barron,
ABBA,
the Swans,
Röyhkä ja Rättö ja Lehtisalo,
John Coltrane,
Flamin' Groovies,
Roy Ayers Ubiquity,
Larry & the Blue Notes,
The West Coast Pop Art Experimental Band,
Cameo,
David Axelrod,
Television Personalities,
Funky Four + One,
Sparks,
Eli Mardock,
The Shadows of Knight,
Easy Going,
Quantec,
Nas,
Hardrive,
Bluetip,
Sound Behaviour,
Bob Dylan,
Drexciya,
Jeff Mills,
Judy Mowatt, Judy Mowatt, Judy Mowatt, Judy Mowatt.
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.