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 Libya and from Milan.
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 1962 to 1971.
I'm losing my edge.
To all the kids in New York and Mumbai.
I'm losing my edge to the art-school Salvador 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 marimba sounds with much patience.
I was there when David Bowie 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 Curtis Mayfield to the jazz kids.
I played it at Trash.
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 Terrestrial Tones. All the underground hits.
All Neil Young & Crazy Horse tracks. I heard you have a vinyl of every Soft Cell record on German import.
I heard that you have a white label of every seminal techno 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 mellotron and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Eric Copeland record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Animal Collective,
A Flock of Seagulls,
Stockholm Monsters,
DJ Style,
Lou Reed,
The Grass Roots,
Lonnie Liston Smith,
The Vogues,
LL Cool J,
Monolake,
Sun City Girls,
Rekid,
Nick Fraelich,
Scratch Acid,
The Litter,
London Community Gospel Choir,
Arab on Radar,
Connie Case,
Amon Düül II,
Grey Daturas,
The Monochrome Set,
The Fire Engines,
Bush Tetras,
The Five Americans,
Maleditus Sound,
Hardrive,
Liliput,
the Human League,
Lizzy Mercier Descloux,
Justin Hinds & The Dominoes,
Eyeless In Gaza,
48th St. Collective,
Alton Ellis,
Erasure,
Magma,
Ronnie Foster,
Pulsallama,
Liaisons Dangereuses,
Iggy Pop,
Sister Nancy,
Chris & Cosey,
Kango’s Stein Massive,
Young Marble Giants,
Gian Franco Pienzio,
Unrelated Segments,
The Mummies,
Whodini,
Terry Callier,
The West Coast Pop Art Experimental Band,
10cc,
Mandrill,
Girls At Our Best!,
MDC,
The Smoke,
Bad Manners,
Yellowson,
June of 44,
Mad Mike,
Motorama,
Sun Ra Arkestra,
Heavy D & The Boyz,
Mars,
Ultramagnetic MC's,
Jacob Miller,
UT, UT, UT, UT.
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.