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 South Africa and from Houston.
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 1963 to 1977.
I'm losing my edge.
To all the kids in Winnipeg and Bremen.
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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the clarinet 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 The Leaves 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 China Crisis. All the underground hits.
All Eddi Front tracks. I heard you have a vinyl of every Mars 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 '70s cut and another box set from the '90s.
I hear you're buying a marimba and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a James Chance & The Contortions record.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Youth Brigade,
the Human League,
Model 500,
Black Moon,
The Associates,
Tim Buckley,
Bang On A Can,
Don Cherry,
Dorothy Ashby,
Ajijia Myrayebe,
Major Organ And The Adding Machine,
K-Klass,
Siouxsie and the Banshees,
cv313,
Livin' Joy,
The Real Kids,
Marine Girls,
The Smoke,
X-Ray Spex,
Bob Dylan,
New Order,
DeepChord presents Echospace,
Gerry Rafferty,
Pulsallama,
Gregory Isaacs,
The Modern Lovers,
Sam Rivers,
Jacques Brel,
Crooked Eye,
Joensuu 1685,
Nirvana,
Girls At Our Best!,
Cybotron,
Organ,
Suburban Knight,
Kango’s Stein Massive,
EPMD,
Kayak,
Dead Boys,
Reuben Wilson,
Lebanon Hanover,
Masters at Work,
The Litter,
Tommy Roe,
Accadde A,
Crispy Ambulance,
Rowland S Howard / Lydia Lunch,
Pharaoh Sanders and the Fire Engines,
Oppenheimer Analysis,
Ultramagnetic MC's,
The Dave Clark Five,
Avey Tare's Slasher Flicks,
John Coltrane,
Quadrant,
Nation of Ulysses,
Toni Rubio,
The Fuzztones,
Sight & Sound,
Ponytail,
The Slackers,
Arcadia,
The Blackbyrds,
Lou Reed & Metallica, Lou Reed & Metallica, Lou Reed & Metallica, Lou Reed & Metallica.
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.