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 Qatar and from Cairo.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Taipei and Glasgow.
I'm losing my edge to the art-school Shanghai 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the oboe sounds with much patience.
I was there when Holger Czukay 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 The United States of America to the electroclash kids.
I played it at the Hacienda.
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 Sun Ra. All the underground hits.
All Rakim tracks. I heard you have a vinyl of every Rapeman 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 '70s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Zeros record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Letta Mbulu,
T. Rex,
Alice Coltrane,
the Sonics,
Derrick Morgan,
Minutemen,
Joyce Sims,
Super Lover Cee & Casanova Rud,
Piero Umiliani,
Skaos,
Judy Mowatt,
The Shadows of Knight,
Crime,
Bauhaus,
Pharaoh Sanders and the Fire Engines,
Bill Wells,
Marc Almond,
the Human League,
Bobby Byrd,
Lindisfarne,
Newcleus,
Television Personalities,
Donny Hathaway,
Roy Ayers,
Kaleidoscope,
Barbara Tucker,
Public Image Ltd.,
Marine Girls,
L. Decosne,
Nik Kershaw,
Lalo Schifrin,
The Divine Comedy,
Marvin Gaye,
The Litter,
Crispian St. Peters,
Unwound,
Pylon,
Godley & Creme,
Black Sheep,
June Days,
Hashim,
Nas,
Ultimate Spinach,
Hoover,
Byron Stingily,
Gary Puckett & The Union Gap,
Gil Scott-Heron & Brian Jackson,
Suicide,
Monolake,
Ronan,
T.S.O.L.,
Jacques Brel,
Eurythmics,
Peter & Gordon,
Rites of Spring,
The Standells,
Man Parrish,
Minor Threat,
London Community Gospel Choir,
Panda Bear,
Todd Terry,
Quadrant,
The United States of America,
Kevin Saunderson, Kevin Saunderson, Kevin Saunderson, Kevin Saunderson.
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.