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 Venezuela and from Seoul.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1974.
I'm losing my edge.
To all the kids in Columbus and Glasgow.
I'm losing my edge to the art-school Lyon 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 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 Infiniti to the grunge 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 Gabor Szabo. All the underground hits.
All Rufus Thomas tracks. I heard you have a vinyl of every PIL 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 '50s cut and another box set from the '90s.
I hear you're buying a synthesizer 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 Walker Brothers record.
I hear that you and your band have sold your 808 and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Misunderstood,
The American Breed,
Lakeside,
Dual Sessions,
Althea and Donna,
Bill Near,
Heavy D & The Boyz,
EPMD,
Wolf Eyes,
Howard Jones,
Rahsaan Roland Kirk,
Television,
Jimmy McGriff,
Agent Orange,
Bang on a Can All-Stars,
Crispy Ambulance,
The Beau Brummels,
Kenny Larkin,
Zero Boys,
Angels of Light & Akron/Family,
Sugar Minott,
Roy Ayers Ubiquity,
New York Dolls,
Technova,
Pierre Henry,
Joensuu 1685,
The Selecter,
This Heat,
Nas,
Black Sheep,
Lindisfarne,
Wasted Youth,
Crime,
Absolute Body Control,
The Wake,
DeepChord presents Echospace,
Max Romeo,
Malaria!,
Marc Almond,
Anakelly,
Mark Hollis,
Pharaoh Sanders and the Fire Engines,
Slick Rick,
The Names,
Bobby Sherman,
Half Japanese,
Ronnie Foster,
Jesper Dahlback,
Grandmaster Flash and the Furious Five,
Morten Harket,
The Searchers,
Grauzone,
Colin Newman,
Nick Cave & The Bad Seeds,
Donald Byrd,
LL Cool J,
Alison Limerick,
Flipper,
Symarip,
Neil Young,
T. Rex, T. Rex, T. Rex, T. Rex.
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.