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 Guinea-Bissau and from London.
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 1969 to 1975.
I'm losing my edge.
To all the kids in Glasgow and Sao Paulo.
I'm losing my edge to the art-school Portland 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 clarinet 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 Nils Olav to the grunge kids.
I played it at the Spitz.
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 Ludus. All the underground hits.
All Johnny Osbourne tracks. I heard you have a vinyl of every Nirvana 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 '80s.
I hear you're buying an oboe and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Main Source record.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Deakin,
The Modern Lovers,
The Buckinghams,
Gil Scott Heron,
The Leaves,
Alice Coltrane,
The Fuzztones,
Barbara Tucker,
Lower 48,
Fort Wilson Riot,
Oblivians,
Newcleus,
Rufus Thomas,
Eurythmics,
Buzzcocks,
Youth Brigade,
Ultravox,
The Vogues,
Minutemen,
Amazonics,
Byron Stingily,
Moebius,
The Blackbyrds,
Quantec,
L. Decosne,
Althea and Donna,
The Red Krayola,
Black Pus,
Flash Fearless,
Crispian St. Peters,
The Toasters,
The Moody Blues,
The Gun Club,
Jacques Brel,
Man Parrish,
Ice-T,
Unwound,
Camouflage,
Jawbox,
Sly & The Family Stone,
The Seeds,
A Certain Ratio,
The Blues Magoos,
The Raincoats,
Banda Bassotti,
Be Bop Deluxe,
Robert Wyatt,
DJ Sneak,
Mark Hollis,
Organ,
Arab on Radar,
Oppenheimer Analysis,
Jesper Dahlbäck,
The Birthday Party,
Saccharine Trust,
Grandmaster Flash,
The Royal Family And The Poor,
Reuben Wilson,
Jeru the Damaja,
Electric Light Orchestra,
Röyhkä ja Rättö ja Lehtisalo, Röyhkä ja Rättö ja Lehtisalo, Röyhkä ja Rättö ja Lehtisalo, Röyhkä ja Rättö ja Lehtisalo.
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.