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 Guinea and from Beijing.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1978.
I'm losing my edge.
To all the kids in Beijing and Edmonton.
I'm losing my edge to the art-school Woodstock 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 synthesizer sounds with much patience.
I was there when Donald Fagen 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 Kurtis Blow to the rock kids.
I played it at the Troubador.
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 Amon Düül II. All the underground hits.
All Gang of Four tracks. I heard you have a vinyl of every Underground Resistance record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a theremin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Scientists record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jesper Dahlbäck,
David Axelrod,
Radio Birdman,
Sugar Minott,
The Gladiators,
Dawn Penn,
Suburban Knight,
Sly & The Family Stone,
Ossler,
Glenn Branca,
The Divine Comedy,
Kango’s Stein Massive,
the Soft Cell,
Chrome,
Q65,
Japan,
Heaven 17,
Amon Düül II,
Animal Collective,
Rites of Spring,
Henry Cow,
Peter Gordon & Love of Life Orchestra,
The Cramps,
Minnie Riperton,
Yellowson,
Freddie Wadling,
Red Lorry Yellow Lorry,
Gary Puckett & The Union Gap,
Grandmaster Flash and the Furious Five,
Marmalade,
Make Up,
Cal Tjader,
Grey Daturas,
Depeche Mode,
Lou Christie,
The Victims,
The Standells,
Cabaret Voltaire,
Todd Terry,
Jerry Gold Smith,
Wighnomy Brothers & Robag Wruhme,
Neu!,
Young Marble Giants,
Scion,
Ash Ra Tempel,
Con Funk Shun,
Bobby Byrd,
Darondo,
Sandy B,
Robert Hood,
PIL,
Mandrill,
Donald Byrd,
Tim Buckley,
The Jesus and Mary Chain,
Metal Thangz,
Ituana,
Intrusion,
Masters at Work,
T. Rex,
Ken Boothe, Ken Boothe, Ken Boothe, Ken Boothe.
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.