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 Turkey and from Paris.
But I was there.
I was there in 1967.
I was there at the first Rodriguez 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 1966 to 1977.
I'm losing my edge.
To all the kids in Johannesburg and Stockholm.
I'm losing my edge to the art-school Houston 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 clarinet sounds with much patience.
I was there when Michael McDonald 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 Liaisons Dangereuses to the dance 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 Dr. Dre and Snoop Doggy Dog. All the underground hits.
All The Buckinghams tracks. I heard you have a vinyl of every Moss Icon record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a harpsichord and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a KRS-One record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Velvet Underground,
Avey Tare & Kría Brekkan,
Moebius,
Mission of Burma,
H. Thieme,
Sad Lovers and Giants,
Bauhaus,
The Selecter,
The Victims,
Janne Schatter,
Peter Gordon & Love of Life Orchestra,
Curtis Mayfield,
The Vogues,
Inner City,
Bootsy Collins,
DJ Style,
Bobby Womack,
Oneida,
Man Eating Sloth,
Barbara Tucker,
Oblivians,
Das Ding,
Pylon,
Scrapy,
Rosa Yemen,
Aloha Tigers,
Strawberry Alarm Clock,
Erasure,
Aural Exciters,
Barclay James Harvest,
the Human League,
The Techniques,
John Foxx,
Negative Approach,
Andrew Hill,
Sound Behaviour,
Marc Almond,
Sticky Fingaz feat. Raekwon,
Eddi Front,
Maurizio,
Reagan Youth,
Bluetip,
Altered Images,
The Barracudas,
Tubeway Army,
Mary Jane Girls,
Y Pants,
Flipper,
Model 500,
Robert Hood,
Laurel Aitken,
Radiohead,
Anthony Braxton,
Joy Division,
The Wake,
Rekid,
Peter and Kerry,
Drexciya,
The Doors,
China Crisis,
Alison Limerick,
Oppenheimer Analysis,
Cymande, Cymande, Cymande, Cymande.
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.