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 Togo and from Spokane.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1974.
I'm losing my edge.
To all the kids in Shanghai and London.
I'm losing my edge to the art-school Lyon 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the mellotron 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 Fifty Foot Hose to the crunk kids.
I played it at the 40 Watt.
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 Pantaleimon. All the underground hits.
All Darondo tracks. I heard you have a vinyl of every Television Personalities record on German import.
I heard that you have a white label of every seminal punk 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 spring reverb and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Carl Craig record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Music Machine,
Gregory Isaacs,
Yaz,
Max Romeo,
Sex Pistols,
Amon Düül II,
The Sisters of Mercy,
Jimmy McGriff,
Desert Stars,
The Red Krayola,
Sugar Minott,
The Motions,
Gil Scott-Heron & Brian Jackson,
Jacob Miller,
Index,
Sparks,
Chris & Cosey,
Bobby Sherman,
New York Dolls,
Guru Guru,
Television Personalities,
Parry Music,
Lou Reed,
Roy Ayers Ubiquity,
Wire,
Ronan,
A Certain Ratio,
the Bar-Kays,
ABC,
Pierre Henry,
Section 25,
FM Einheit,
JFA,
La Düsseldorf,
The Pop Group,
The Angels of Light,
D'Angelo,
Richard Hell and the Voidoids,
Rekid,
Darondo,
Animal Collective,
Thompson Twins,
The Five Americans,
Gian Franco Pienzio,
Monolake,
It's A Beautiful Day,
Sexual Harrassment,
The Martian,
The Searchers,
H. Thieme,
Tubeway Army,
Michelle Simonal,
Zapp,
Idris Muhammad,
Sandy B,
The Velvet Underground,
Mary Jane Girls,
The American Breed,
Rhythm & Sound,
The Names, The Names, The Names, The Names.
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.