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 Tonga and from Manila.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1963 to 1979.
I'm losing my edge.
To all the kids in Bologna and Glasgow.
I'm losing my edge to the art-school Bremen 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the chamberlin sounds with much patience.
I was there when Captain Beefheart 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 Marc Almond to the rap kids.
I played it at the Troubador.
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 Yusef Lateef. All the underground hits.
All Boz Scaggs tracks. I heard you have a vinyl of every Blake Baxter 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 '80s cut and another box set from the '70s.
I hear you're buying a guitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Vaughan Mason & Crew record.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Neu!,
Quadrant,
Blancmange,
Kool Moe Dee,
KRS-One,
The Last Poets,
Bobbi Humphrey,
Harry Pussy,
Joensuu 1685,
Scion,
The United States of America,
De La Soul & Jungle Brothers,
Country Joe & The Fish,
John Coltrane,
Unwound,
The Tremeloes,
Wings,
Pussy Galore,
Intrusion,
Sun Ra Arkestra,
Desert Stars,
Stereo Dub,
Eric Dolphy,
Sunsets and Hearts,
Mantronix,
Wally Richardson,
DeepChord presents Echospace,
Minutemen,
The Vogues,
Nick Fraelich,
The Evens,
Ultravox,
Unrelated Segments,
Sex Pistols,
The Count Five,
Kauko Röyhkä ja Narttu,
Amazonics,
DNA,
The Pretty Things,
Heaven 17,
Roy Ayers Ubiquity,
Boredoms,
Colin Newman,
Lizzy Mercier Descloux,
Brass Construction,
Maurizio,
Cymande,
X-102,
Marmalade,
Ultra Naté,
Essential Logic,
B.T. Express,
James Chance & The Contortions,
Derrick May,
48th St. Collective,
Harpers Bizarre,
Porter Ricks,
Metal Thangz,
Bizarre Inc.,
Man Eating Sloth,
The Skatalites,
The Fall,
Peter and Kerry,
Bronski Beat, Bronski Beat, Bronski Beat, Bronski Beat.
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.