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 Ireland and from Manila.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1976.
I'm losing my edge.
To all the kids in Tehran and Calgary.
I'm losing my edge to the art-school Lagos 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 oboe 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 Massinfluence 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 Andrew Ashong & Theo Parrish. All the underground hits.
All Todd Rundgren tracks. I heard you have a vinyl of every June of 44 record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a guitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Roy Ayers Ubiquity record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Severed Heads,
Peter and Kerry,
Fugazi,
Wally Richardson,
The Moleskins,
Absolute Body Control,
cv313,
The Fire Engines,
Captain Beefheart & His Magic Band,
Liliput,
The Modern Lovers,
Grandmaster Flash and the Furious Five,
DJ Style,
Frankie Knuckles,
Selector Dub Narcotic,
Brothers Johnson,
Tommy Roe,
Yaz,
Roy Ayers Ubiquity,
The Busters,
Fad Gadget,
Brand Nubian,
Index,
Nils Olav,
Harpers Bizarre,
Barbara Tucker,
The Remains,
Gang Gang Dance,
Gabor Szabo,
Underground Resistance,
Spandau Ballet,
New Age Steppers,
The Alarm Clocks,
The Names,
Eric Dolphy,
Tres Demented,
Reuben Wilson,
Cal Tjader,
Brass Construction,
The Standells,
8 Eyed Spy,
The Victims,
Kool Moe Dee,
Althea and Donna,
Minutemen,
The Misunderstood,
Jerry's Kids,
Todd Terry,
the Bar-Kays,
Bauhaus,
Gil Scott-Heron and Jamie xx,
Banda Bassotti,
Circle Jerks,
Pantytec,
Matthew Bourne,
Ohio Players,
Fear,
ABBA,
Alphaville,
Amon Düül,
Easy Going,
James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions.
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.