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 Honduras and from Sao Paulo.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Bremen and Bremen.
I'm losing my edge to the art-school Sao Paulo 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the guitar 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 Bobby Sherman to the crunk kids.
I played it at the 40 Watt.
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 The Sonics. All the underground hits.
All The Slits tracks. I heard you have a vinyl of every Popol Vuh record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a harpsichord and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Orchestral Manoeuvres in the Dark record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dual Sessions,
Newcleus,
Roy Ayers,
Lindisfarne,
The Monochrome Set,
Los Fastidios,
Q and Not U,
Public Enemy,
Bootsy Collins,
Supertramp,
Lucky Dragons,
T.S.O.L.,
JFA,
Eli Mardock,
Rapeman,
The Misunderstood,
Wasted Youth,
Letta Mbulu,
EPMD,
Tubeway Army,
Little Man,
Pete Rock & C.L. Smooth,
The West Coast Pop Art Experimental Band,
The Residents,
Schoolly D,
Mandrill,
Loose Ends,
Thinking Fellers Union Local 282,
Marc Romboy vs. Booka Shade,
Roger Hodgson,
Basic Channel,
Q65,
Bobby Byrd,
Althea and Donna,
Kango’s Stein Massive,
Ultravox,
Idris Muhammad,
Neil Young,
the Normal,
Rosa Yemen,
The Mojo Men,
Vainqueur,
Skriet,
Ohio Players,
Glenn Branca,
Agitation Free,
Con Funk Shun,
Ituana,
The Smiths,
Soft Cell,
Severed Heads,
Pulsallama,
Rufus Thomas,
Strawberry Alarm Clock,
Lakeside,
Eyeless In Gaza,
The Stooges,
James White and The Blacks,
U.S. Maple,
The Fall,
Marvin Gaye,
Barry Ungar, Barry Ungar, Barry Ungar, Barry Ungar.
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.