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 Sri Lanka and from Toronto.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Taipei and Manila.
I'm losing my edge to the art-school Bologna 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 oboe sounds with much patience.
I was there when David Bowie 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 De La Soul & Jungle Brothers to the punk kids.
I played it at CBGB's.
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 Cure. All the underground hits.
All Mad Mike tracks. I heard you have a vinyl of every Marshall Jefferson 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 '90s.
I hear you're buying a chamberlin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Albert Ayler record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Quantec,
Country Joe & The Fish,
Bang on a Can All-Stars,
Mo-Dettes,
Moebius,
The Names,
Kool G Rap & DJ Polo,
Nick Fraelich,
a-ha,
Fugazi,
Shuggie Otis,
The Chocolate Watch Band,
The Dirtbombs,
Audionom,
Kaleidoscope,
The Flesh Eaters,
Magazine,
Skaos,
Severed Heads,
Das Ding,
The Beau Brummels,
The Gap Band,
The Index,
Moby Grape,
Chris Corsano,
the Fania All-Stars,
Pere Ubu,
Franke,
Lou Christie,
Panda Bear,
London Community Gospel Choir,
Althea and Donna,
Juan Atkins,
Hasil Adkins,
The Move,
Lower 48,
Porter Ricks,
The West Coast Pop Art Experimental Band,
Motorama,
The American Breed,
Minutemen,
Eric Copeland,
Derrick Morgan,
Freddie Wadling,
World's Most,
John Lydon,
Gerry Rafferty,
Donny Hathaway,
Gichy Dan,
Siouxsie and the Banshees,
Vaughan Mason & Crew,
Echo & the Bunnymen,
Rhythm & Sound,
DNA,
Black Flag,
Reuben Wilson,
Louis and Bebe Barron,
Alison Limerick,
Bootsy Collins,
Heavy D & The Boyz,
Rhythim Is Rhythim,
The Standells,
Johnny Clarke, Johnny Clarke, Johnny Clarke, Johnny Clarke.
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.