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 Ethiopia and from Lagos.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1971.
I'm losing my edge.
To all the kids in Shanghai and Stockholm.
I'm losing my edge to the art-school Milan 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 theremin 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 Cal Tjader to the disco 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 Donny Hathaway. All the underground hits.
All The Litter tracks. I heard you have a vinyl of every Mr. Review 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 '80s.
I hear you're buying a snare and a 808 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 synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott Heron,
Ituana,
James Chance & The Contortions,
Marc Almond,
Magazine,
Howard Jones,
Anthony Braxton,
Hoover,
Trumans Water,
Masters at Work,
Rites of Spring,
Anakelly,
Lalo Schifrin,
The Gladiators,
Gil Scott-Heron & Brian Jackson,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Rowland S Howard / Lydia Lunch,
Bad Manners,
Amazonics,
DJ Style,
Kurtis Blow,
Khruangbin,
Agitation Free,
Morten Harket,
Fear,
Little Man,
Porter Ricks,
Johnny Clarke,
Skriet,
Vladislav Delay,
The Victims,
Johnny Osbourne,
Icehouse,
Grauzone,
Peter Gordon & Love of Life Orchestra,
Idris Muhammad,
John Lydon,
The Mojo Men,
Lou Reed,
Neil Young,
Ultra Naté,
Terror Squad Feat. Camron,
Parry Music,
Siglo XX,
The Slits,
Sound Behaviour,
Faraquet,
Crispian St. Peters,
Boredoms,
Supertramp,
Pere Ubu,
Dorothy Ashby,
Black Bananas,
X-Ray Spex,
New York Dolls,
The Smoke,
Crime,
E-Dancer,
This Heat,
Banda Bassotti,
The Standells,
Joe Smooth, Joe Smooth, Joe Smooth, Joe Smooth.
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.