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 Bahamas and from Madrid.
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 1969 to 1976.
I'm losing my edge.
To all the kids in London and Bremen.
I'm losing my edge to the art-school Copenhagen 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 snare 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 Accadde A to the funk 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 Brick. All the underground hits.
All La Düsseldorf tracks. I heard you have a vinyl of every Cheater Slicks 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 '80s cut and another box set from the '90s.
I hear you're buying a 808 and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a James Chance & The Contortions record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
DJ Sneak,
Wire,
Avey Tare's Slasher Flicks,
Unrelated Segments,
Oppenheimer Analysis,
Index,
PIL,
John Cale,
Eyeless In Gaza,
The Gap Band,
Vladislav Delay,
The Sonics,
The Pretty Things,
The Angels of Light,
R.M.O.,
Avey Tare,
Joe Finger,
The Vogues,
the Slits,
Essential Logic,
The American Breed,
Beasts of Bourbon,
Stereo Dub,
Piero Umiliani,
E-Dancer,
Ituana,
David Bowie,
Mary Jane Girls,
The Last Poets,
Supertramp,
Eric Copeland,
The Slackers,
Monolake,
The Birthday Party,
Jacques Brel,
Organ,
the Bar-Kays,
Kayak,
Hashim,
Darondo,
The Saints,
Matthew Halsall,
Scrapy,
The Offenders,
Barrington Levy,
Leonard Cohen,
The J.B.'s,
Dual Sessions,
Max Romeo,
LL Cool J,
Black Moon,
Spoonie Gee,
Slave,
Jesper Dahlback,
Dennis Brown,
Shuggie Otis,
Deutsch Amerikanische Freundschaft,
Echospace,
Minor Threat,
Banda Bassotti,
Accadde A,
Thinking Fellers Union Local 282,
China Crisis, China Crisis, China Crisis, China Crisis.
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.