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 Bologna.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Hong Kong and London.
I'm losing my edge to the art-school New York 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 1976 at the first Chic practice in a loft in New York.
I was working on the chamberlin 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 Saints to the disco kids.
I played it at Trash.
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 Lucky Dragons. All the underground hits.
All Wighnomy Brothers & Robag Wruhme tracks. I heard you have a vinyl of every Ornette Coleman 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 '60s cut and another box set from the '70s.
I hear you're buying a marimba and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Moebius record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Popol Vuh,
Fear,
The Moleskins,
The Gap Band,
The Walker Brothers,
X-101,
Rhythim Is Rhythim,
Newcleus,
James White and The Blacks,
Moby Grape,
Amon Düül,
Wasted Youth,
Siglo XX,
Radiopuhelimet,
Ludus,
Sun City Girls,
Khruangbin,
Oneida,
The Divine Comedy,
Crooked Eye,
Donny Hathaway,
Susan Cadogan,
ABC,
Siouxsie and the Banshees,
R.M.O.,
Excepter,
Peter & Gordon,
Barclay James Harvest,
Amazonics,
Patti Smith,
The Techniques,
Minutemen,
Cecil Taylor,
Stockholm Monsters,
the Association,
Art Ensemble Of Chicago,
Lee Hazlewood,
The Cramps,
The Move,
Strawberry Alarm Clock,
Visionaries,LMNO, T- Love & Iriscience,
The Mojo Men,
The Misunderstood,
David Bowie,
Crash Course in Science,
Whodini,
The Blackbyrds,
Rites of Spring,
Blancmange,
Sight & Sound,
Danielle Patucci,
Cheater Slicks,
Eric B and Rakim,
Harmonia,
Pantytec,
Warsaw,
The Motions,
Pet Shop Boys,
The American Breed,
Kenny Larkin,
The Wake,
Camron Feat. Memphis Bleek And Beenie Seigel,
Sugar Minott, Sugar Minott, Sugar Minott, Sugar Minott.
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.