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 Switzerland and from Jakarta.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Columbus and Philadelphia.
I'm losing my edge to the art-school Taipei 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 snare sounds with much patience.
I was there when Nile Rodgers 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 Rhythim Is Rhythim to the techno kids.
I played it at the Roxy.
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 Smog. All the underground hits.
All Sexual Harrassment tracks. I heard you have a vinyl of every The Fire Engines 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 an organ and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a 48th St. Collective record.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Camberwell Now,
China Crisis,
Adolescents,
a-ha,
Ituana,
The Martian,
The Happenings,
Gil Scott-Heron & Brian Jackson,
Althea and Donna,
The Moleskins,
Jacques Brel,
Pussy Galore,
Patti Smith,
Bill Near,
The Music Machine,
Scientists,
The Stooges,
June Days,
The Grass Roots,
Curtis Mayfield,
The Jesus and Mary Chain,
New Age Steppers,
AZ,
Fear,
The Blackbyrds,
The Motions,
the Normal,
The Knickerbockers,
Unrelated Segments,
Joensuu 1685,
Marc Romboy vs. Booka Shade,
Mission of Burma,
Minor Threat,
Pulsallama,
Thinking Fellers Union Local 282,
Bad Manners,
Teenage Jesus and the Jerks,
Shuggie Otis,
Arthur Verocai,
Glambeats Corp.,
the Human League,
F. McDonald,
Black Bananas,
Maurizio,
Terror Squad Feat. Camron,
B.T. Express,
Black Moon,
Shoche,
Lungfish,
Warren Ellis,
Sällskapet,
Terry Callier,
Fela Kuti,
Jeru the Damaja,
Joyce Sims,
Little Man,
Ronnie Foster,
10cc,
London Community Gospel Choir,
Gary Puckett & The Union Gap,
cv313,
Supertramp, Supertramp, Supertramp, Supertramp.
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.