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 Belize and from New York.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1976.
I'm losing my edge.
To all the kids in Tehran and Paris.
I'm losing my edge to the art-school Columbus 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 oboe 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 Johnny Clarke to the rock kids.
I played it at the Spitz.
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 Arab on Radar. All the underground hits.
All Public Image Ltd. tracks. I heard you have a vinyl of every The Mighty Diamonds record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a rhodes and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Steve Hackett record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord 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?
the Germs,
Delta 5,
The Names,
Kevin Saunderson,
Scion,
The Royal Family And The Poor,
Maleditus Sound,
The Shadows of Knight,
Warsaw,
Mary Jane Girls,
EPMD,
Patti Smith,
Eurythmics,
Dead Boys,
Barclay James Harvest,
The Electric Prunes,
Cal Tjader,
Ten City,
Ultra Naté,
The Gladiators,
Kauko Röyhkä ja Narttu,
R.M.O.,
London Community Gospel Choir,
The Last Poets,
Byron Stingily,
Sarah Menescal,
Darondo,
Matthew Bourne,
Radio Birdman,
Black Moon,
Icehouse,
Soft Cell,
Connie Case,
The Leaves,
Pharoah Sanders,
Pierre Henry,
Aaron Thompson,
Art Ensemble Of Chicago,
Donny Hathaway,
New Age Steppers,
The Smiths,
The Five Americans,
OOIOO,
Ludus,
Amon Düül,
Sister Nancy,
Heavy D & The Boyz,
The Blackbyrds,
Notorious Big And Bone Thugs,
Whodini,
Talk Talk,
Jerry Gold Smith,
Bang on a Can All-Stars,
Idris Muhammad,
Major Organ And The Adding Machine,
K-Klass,
Aloha Tigers,
Rekid,
Pharaoh Sanders and the Fire Engines,
Unrelated Segments,
Faraquet,
The Wake,
Mr. Review,
Liliput, Liliput, Liliput, Liliput.
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.