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 Luxembourg and from Manchester.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Paris and Philadelphia.
I'm losing my edge to the art-school Bologna 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the marimba 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 Marc Romboy vs. Booka Shade to the grime kids.
I played it at the Spitz.
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 Pagans. All the underground hits.
All Television tracks. I heard you have a vinyl of every The Cramps 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 '70s cut and another box set from the '70s.
I hear you're buying a harpsichord and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Associates record.
I hear that you and your band have sold your sitar and bought an oboe.
I hear that you and your band have sold your oboe and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Siglo XX,
Boogie Down Productions,
Glambeats Corp.,
Pantaleimon,
Howard Jones,
Suicide,
Siouxsie and the Banshees,
Barbara Tucker,
The Move,
Cameo,
Lizzy Mercier Descloux,
Kings Of Tomorrow,
Model 500,
Deutsch Amerikanische Freundschaft,
Anthony Braxton,
Gang of Four,
Masters at Work,
Gil Scott Heron,
Marvin Gaye,
Make Up,
Gil Scott-Heron and Jamie xx,
Mad Mike,
Quantec,
Sparks,
Ohio Players,
Lindisfarne,
Ituana,
Kauko Röyhkä ja Narttu,
The Count Five,
Pere Ubu,
The Mummies,
Lou Christie,
Bizarre Inc.,
Agitation Free,
Radiopuhelimet,
Alison Limerick,
Thompson Twins,
The Leaves,
Steve Hackett,
David Bowie,
The Dead C,
Kenny Larkin,
Neil Young,
Scrapy,
Ralphi Rosario,
Young Marble Giants,
Essential Logic,
Kool Moe Dee,
The Durutti Column,
Urselle,
Youth Brigade,
The Invisible,
Eric B and Rakim,
The Gladiators,
Arab on Radar,
Drive Like Jehu,
Jandek,
Soul II Soul,
Black Bananas,
L. Decosne,
the Germs,
The Toasters,
Art Ensemble Of Chicago, Art Ensemble Of Chicago, Art Ensemble Of Chicago, Art Ensemble Of Chicago.
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.