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 Zimbabwe and from Halifax.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Taipei and Bologna.
I'm losing my edge to the art-school Stockholm 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 chamberlin sounds with much patience.
I was there when Michael McDonald 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 Anthony Braxton to the grime kids.
I played it at the Crocodile.
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 Deepchord. All the underground hits.
All Sarah Menescal tracks. I heard you have a vinyl of every Minnie Riperton record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a 808 and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Glambeats Corp. record.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Porter Ricks,
Y Pants,
Kings Of Tomorrow,
The United States of America,
The Grass Roots,
Stereo Dub,
Delta 5,
Jesper Dahlbäck,
Blancmange,
Sarah Menescal,
Richard Hell and the Voidoids,
Public Image Ltd.,
Nas,
Brick,
The Cramps,
Pete Rock & C.L. Smooth,
Rosa Yemen,
Mad Mike,
Joe Smooth,
Harry Pussy,
Zapp,
Scrapy,
Deakin,
Surgeon,
Jeff Mills,
Schoolly D,
Kaleidoscope,
Delon & Dalcan,
8 Eyed Spy,
Agitation Free,
Aaron Thompson,
Archie Shepp,
James Chance & The Contortions,
De La Soul & Jungle Brothers,
Barry Ungar,
Judy Mowatt,
June of 44,
The Gap Band,
Andrew Hill,
Television,
Stockholm Monsters,
The Dirtbombs,
Avey Tare,
Röyhkä ja Rättö ja Lehtisalo,
Scott Walker + Sunn O))),
Radiohead,
Ultravox,
Television Personalities,
The Fortunes,
Mandrill,
John Lydon,
Crime,
Shuggie Otis,
Howard Jones,
Rhythim Is Rhythim,
Neil Young & Crazy Horse,
The Searchers,
the Normal,
Avey Tare & Kría Brekkan,
New York Dolls,
Accadde A,
Laurel Aitken, Laurel Aitken, Laurel Aitken, Laurel Aitken.
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.