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 San Marino and from Salvador.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Bologna and Lyon.
I'm losing my edge to the art-school Lyon 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 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 Gil Scott Heron to the grunge kids.
I played it at the Crocodile.
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 Lou Reed & Metallica. All the underground hits.
All Ossler tracks. I heard you have a vinyl of every The Velvet Underground 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 '80s cut and another box set from the '90s.
I hear you're buying a chamberlin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Crispian St. Peters record.
I hear that you and your band have sold your 808 and bought a sitar.
I hear that you and your band have sold your sitar and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Andrew Ashong & Theo Parrish,
Cymande,
Dorothy Ashby,
Ajijia Myrayebe,
Urselle,
Faust,
Easy Going,
Ituana,
Barry Ungar,
Soft Machine,
Nils Olav,
Robert Görl,
La Düsseldorf,
Ralphi Rosario,
Nirvana,
Deakin,
Rekid,
Funky Four + One,
Fat Boys,
Danielle Patucci,
Bobbi Humphrey,
The Toasters,
Rites of Spring,
Hashim,
Deepchord,
Marvin Gaye,
Massinfluence,
Gang of Four,
The Alarm Clocks,
the Sonics,
Gil Scott-Heron and Jamie xx,
The Misunderstood,
Skarface,
Robert Hood,
Rosa Yemen,
Mark Hollis,
Franke,
Little Man,
Sun Ra Arkestra,
Country Teasers,
Sonny Sharrock,
Mary Jane Girls,
Lalann,
The Litter,
DJ Sneak,
Delon & Dalcan,
Duran Duran,
The Monochrome Set,
Main Source,
The Trojans,
The Sisters of Mercy,
Lonnie Liston Smith,
Bobby Hutcherson,
Lyres,
the Swans,
New Order,
Kayak,
Quando Quango,
Zapp,
Peter & Gordon,
Maurizio, Maurizio, Maurizio, Maurizio.
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.