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 Equatorial Guinea and from London.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Stockholm and Bologna.
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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the chamberlin 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 Warsaw to the crunk kids.
I played it at the Roxy.
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 Public Image Ltd.. All the underground hits.
All The Gladiators tracks. I heard you have a vinyl of every Jesper Dahlbäck 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 '60s cut and another box set from the '70s.
I hear you're buying a rhodes and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Juan Atkins record.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Blake Baxter,
The Count Five,
Minutemen,
Roy Ayers Ubiquity,
New York Dolls,
Groovy Waters,
Johnny Osbourne,
F. McDonald,
The Cramps,
Minny Pops,
Blancmange,
Barrington Levy,
Aswad,
Erasure,
The Associates,
Art Ensemble Of Chicago,
Grandmaster Flash,
FM Einheit,
John Foxx,
Peter & Gordon,
Rotary Connection,
Ultra Naté,
The Royal Family And The Poor,
Mr. Review,
Dave Gahan,
Röyhkä ja Rättö ja Lehtisalo,
DNA,
The West Coast Pop Art Experimental Band,
June of 44,
Lakeside,
The Walker Brothers,
The Velvet Underground,
Funkadelic,
Lower 48,
Animal Collective,
Darondo,
Man Eating Sloth,
Skriet,
LL Cool J,
the Bar-Kays,
Ultimate Spinach,
Young Marble Giants,
Joyce Sims,
The Gap Band,
Royal Trux,
Subhumans,
Chris Corsano,
Faraquet,
Moebius,
Sam Rivers,
Red Lorry Yellow Lorry,
The Grass Roots,
Thee Headcoats,
Flash Fearless,
Aural Exciters,
The Electric Prunes,
Anthony Braxton,
Swell Maps,
Oppenheimer Analysis,
Rekid,
Lee Hazlewood,
Roxette,
The Doors,
Derrick May,
Reuben Wilson, Reuben Wilson, Reuben Wilson, Reuben Wilson.
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.