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 Rwanda and from Taipei.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Woodstock and Copenhagen.
I'm losing my edge to the art-school Spokane 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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the snare 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 Alton Ellis to the disco 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 Lafayette Afro Rock Band. All the underground hits.
All E-Dancer tracks. I heard you have a vinyl of every Swell Maps 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 '70s cut and another box set from the '90s.
I hear you're buying a snare and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Trojans record.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Easy Going,
Jeff Lynne,
Chris Corsano,
Ossler,
Sixth Finger,
Ituana,
the Swans,
Althea and Donna,
Scratch Acid,
Thee Headcoats,
Godley & Creme,
Model 500,
Swans,
Rhythm & Sound,
Pulsallama,
Arab on Radar,
Skaos,
Sight & Sound,
The Peanut Butter Conspiracy,
Bill Near,
Cymande,
Animal Collective,
Echospace,
Matthew Halsall,
Neu!,
Lonnie Liston Smith,
Larry & the Blue Notes,
Pierre Henry,
Lee Hazlewood,
Gichy Dan,
Make Up,
Aural Exciters,
Ohio Players,
Harmonia,
B.T. Express,
Jawbox,
Minnie Riperton,
Frankie Knuckles,
The Men They Couldn't Hang,
Hardrive,
Rites of Spring,
Symarip,
Bootsy's Rubber Band,
Be Bop Deluxe,
K-Klass,
The Monochrome Set,
Alison Limerick,
Trumans Water,
The Selecter,
Cameo,
Fatback Band,
Boz Scaggs,
The West Coast Pop Art Experimental Band,
Metal Thangz,
Jerry Gold Smith,
Joe Finger,
A Flock of Seagulls,
China Crisis,
Bluetip,
Nils Olav,
Rhythim Is Rhythim,
Stiv Bators,
Glenn Branca,
Swell Maps,
Black Bananas, Black Bananas, Black Bananas, Black Bananas.
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.