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 El Salvador and from Stockholm.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1961 to 1979.
I'm losing my edge.
To all the kids in Shanghai and Salvador.
I'm losing my edge to the art-school Houston 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 mellotron sounds with much patience.
I was there when Robert Palmer 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 Popol Vuh to the techno 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 The Fortunes. All the underground hits.
All Thompson Twins tracks. I heard you have a vinyl of every Traffic Nightmare record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying an organ and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Chris & Cosey record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Andrew Hill,
The Angels of Light,
Nico,
Patti Smith,
Super Lover Cee & Casanova Rud,
OOIOO,
the Association,
Byron Stingily,
Lou Reed & Metallica,
Major Organ And The Adding Machine,
Sam Rivers,
The Fire Engines,
Harpers Bizarre,
Kango’s Stein Massive,
Curtis Mayfield,
Brothers Johnson,
A Certain Ratio,
Todd Terry,
Idris Muhammad,
Cabaret Voltaire,
Gang Green,
Von Mondo,
Crash Course in Science,
Heavy D & The Boyz,
Bill Near,
Delta 5,
Ultra Naté,
Lou Reed & John Cale,
Al Stewart,
Dr. Dre and Snoop Doggy Dog,
Gang Starr,
Agitation Free,
Mantronix,
Rahsaan Roland Kirk,
Stereo Dub,
Sonic Youth,
T. Rex,
Amazonics,
Grey Daturas,
Todd Rundgren,
Lindisfarne,
Junior Murvin,
Schoolly D,
Fluxion,
The West Coast Pop Art Experimental Band,
Big Daddy Kane,
Monolake,
Shoche,
Sad Lovers and Giants,
Scott Walker + Sunn O))),
Dual Sessions,
Interpol,
Franke,
Popol Vuh,
Brass Construction,
Electric Light Orchestra,
Donald Byrd,
R.M.O.,
Bobby Byrd,
Fort Wilson Riot, Fort Wilson Riot, Fort Wilson Riot, Fort Wilson Riot.
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.