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 Uzbekistan and from Tokyo.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Lille and Accra.
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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the synthesizer sounds with much patience.
I was there when Donald Fagen 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 Quando Quango to the techno 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 Ultra Naté. All the underground hits.
All Reagan Youth tracks. I heard you have a vinyl of every Depeche Mode record on German import.
I heard that you have a white label of every seminal rap 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 theremin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Unrelated Segments record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
EPMD,
The Mojo Men,
Skriet,
Roxy Music,
Mad Mike,
Richard Hell and the Voidoids,
Ronan,
Sly & The Family Stone,
Mars,
Schoolly D,
Scott Walker + Sunn O))),
Zapp,
Darondo,
Ultimate Spinach,
Drive Like Jehu,
The Associates,
Isaac Hayes,
The Black Dice,
Accadde A,
Mo-Dettes,
Whodini,
Bootsy's Rubber Band,
Big Daddy Kane,
Pussy Galore,
Eve St. Jones,
Loose Ends,
Nils Olav,
Yusef Lateef,
These Immortal Souls,
Angry Samoans,
Swans,
T. Rex,
Oblivians,
Aaron Thompson,
Throbbing Gristle,
Eyeless In Gaza,
The Tremeloes,
Public Image Ltd.,
the Human League,
JFA,
The Zeros,
Deutsch Amerikanische Freundschaft,
Mantronix,
Amon Düül,
B.T. Express,
Surgeon,
Barbara Tucker,
Newcleus,
Grandmaster Flash and the Furious Five,
Sparks,
Tommy Roe,
Electric Light Orchestra,
Kings Of Tomorrow,
Carl Craig,
New Order,
De La Soul & Jungle Brothers,
Röyhkä ja Rättö ja Lehtisalo,
Derrick May,
PIL,
K-Klass,
Boz Scaggs,
Soft Machine, Soft Machine, Soft Machine, Soft Machine.
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.