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 Palau and from Philadelphia.
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 1969 to 1979.
I'm losing my edge.
To all the kids in Portland and Paris.
I'm losing my edge to the art-school Copenhagen 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the synthesizer 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 Bobby Womack to the funk 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 Eve St. Jones. All the underground hits.
All Marcia Griffiths tracks. I heard you have a vinyl of every Guru Guru record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a chamberlin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Public Enemy record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Severed Heads,
Jawbox,
Eric B and Rakim,
Fluxion,
Little Man,
The Happenings,
Lalann,
DeepChord presents Echospace,
Eric Copeland,
Intrusion,
Animal Collective,
Sun City Girls,
Oblivians,
Joey Negro,
Eli Mardock,
Super Lover Cee & Casanova Rud,
The Gun Club,
Spandau Ballet,
Second Layer,
China Crisis,
Quantec,
The Offenders,
Rhythim Is Rhythim,
Connie Case,
Infiniti,
Ornette Coleman,
The Trojans,
James White and The Blacks,
E-Dancer,
Gang Green,
Black Sheep,
Nick Fraelich,
Joensuu 1685,
The West Coast Pop Art Experimental Band,
Matthew Bourne,
Jacob Miller,
the Sonics,
Gichy Dan,
kango's stein massive,
This Heat,
Dorothy Ashby,
Rakim,
The Selecter,
Gerry Rafferty,
The Cramps,
The Kinks,
Alphaville,
The Music Machine,
Camberwell Now,
T.S.O.L.,
Yusef Lateef,
Magma,
The Seeds,
Boogie Down Productions,
Al Stewart,
Kaleidoscope,
Sarah Menescal,
Throbbing Gristle,
Gang Gang Dance,
Loose Ends,
Traffic Nightmare,
Hasil Adkins,
Essential Logic,
Talk Talk, Talk Talk, Talk Talk, Talk Talk.
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.