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 Montenegro and from Madrid.
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 1968 to 1976.
I'm losing my edge.
To all the kids in Accra and Beijing.
I'm losing my edge to the art-school Jakarta 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the rhodes 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 Grey Daturas to the electroclash kids.
I played it at the Spitz.
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 Gastr Del Sol. All the underground hits.
All Pharoah Sanders tracks. I heard you have a vinyl of every Black Moon record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a mellotron and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Saccharine Trust record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Half Japanese,
E-Dancer,
Pantaleimon,
Sugar Minott,
Röyhkä ja Rättö ja Lehtisalo,
K-Klass,
Sad Lovers and Giants,
Siglo XX,
The Royal Family And The Poor,
Bauhaus,
H. Thieme,
Echospace,
The Jesus and Mary Chain,
Big Daddy Kane,
Super Lover Cee & Casanova Rud,
Soulsonic Force,
PIL,
Fad Gadget,
Vainqueur,
Chris Corsano,
Terry Callier,
The Saints,
Tubeway Army,
Boogie Down Productions,
Throbbing Gristle,
The Names,
The Doors,
Kayak,
Gang Gang Dance,
Marcia Griffiths,
Glambeats Corp.,
The Smoke,
Bootsy Collins,
A Certain Ratio,
Hoover,
Henry Cow,
the Association,
Grandmaster Flash and the Furious Five,
Alison Limerick,
Flipper,
The Zeros,
Franke,
The Techniques,
ABBA,
Nik Kershaw,
David Axelrod,
Joyce Sims,
Mo-Dettes,
This Heat,
Yellowson,
Boredoms,
Lindisfarne,
Outsiders,
Technova,
Robert Wyatt,
The Motions,
June of 44,
James White and The Blacks,
Albert Ayler,
Cheater Slicks,
Aural Exciters,
Scrapy, Scrapy, Scrapy, Scrapy.
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.