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 Netherlands and from Columbus.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Madrid and Bremen.
I'm losing my edge to the art-school Mumbai 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 guitar sounds with much patience.
I was there when David Bowie 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 Amazonics to the jazz 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 The Toasters. All the underground hits.
All Gian Franco Pienzio tracks. I heard you have a vinyl of every Supertramp record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a marimba and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Theoretical Girls record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Albert Ayler,
48th St. Collective,
Judy Mowatt,
Gil Scott Heron,
Mr. Review,
Roy Ayers Ubiquity,
Idris Muhammad,
Eric Dolphy,
Fluxion,
Das Ding,
Bizarre Inc.,
The Divine Comedy,
Echospace,
Hasil Adkins,
Camouflage,
The Fire Engines,
the Human League,
Terror Squad Feat. Camron,
Neil Young & Crazy Horse,
Ossler,
Pussy Galore,
Ultramagnetic MC's,
Bobbi Humphrey,
Matthew Bourne,
Index,
Lungfish,
The Blackbyrds,
Kool Moe Dee,
Piero Umiliani,
Chrome,
A Flock of Seagulls,
Absolute Body Control,
Visage,
Organ,
PIL,
Beasts of Bourbon,
R.M.O.,
Joe Smooth,
The Names,
Los Fastidios,
Japan,
Eyeless In Gaza,
Sun Ra Arkestra,
Wasted Youth,
Red Lorry Yellow Lorry,
Mars,
cv313,
Duran Duran,
Man Parrish,
Alice Coltrane,
Vaughan Mason & Crew,
Kaleidoscope,
Frankie Knuckles,
Q and Not U,
Rod Modell,
Schoolly D,
The J.B.'s,
Lyres,
Eve St. Jones,
Rapeman, Rapeman, Rapeman, Rapeman.
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.