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 Maldives and from Columbus.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Mumbai and Copenhagen.
I'm losing my edge to the art-school Bologna 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 spring reverb sounds with much patience.
I was there when Holger Czukay 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 Fatback Band to the punk 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 Liliput. All the underground hits.
All Bizarre Inc. tracks. I heard you have a vinyl of every Avey Tare & Kría Brekkan 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 '50s cut and another box set from the '70s.
I hear you're buying a sitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a the Association record.
I hear that you and your band have sold your spring reverb and bought a güiro.
I hear that you and your band have sold your güiro and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Peter and Kerry,
Bobby Womack,
Idris Muhammad,
A Flock of Seagulls,
Metal Thangz,
Blake Baxter,
Ultravox,
Ultramagnetic MC's,
Eve St. Jones,
Rakim,
Sight & Sound,
Supertramp,
The Moody Blues,
Lizzy Mercier Descloux,
Blancmange,
Piero Umiliani,
Von Mondo,
The Music Machine,
Andrew Hill,
New Age Steppers,
David Axelrod,
Gregory Isaacs,
The Barracudas,
Donald Byrd,
Quando Quango,
It's A Beautiful Day,
Agitation Free,
Throbbing Gristle,
The United States of America,
Zero Boys,
Joe Smooth,
Heavy D & The Boyz,
Dual Sessions,
Fugazi,
Quadrant,
Harry Pussy,
Cluster,
Maleditus Sound,
ABBA,
Charles Mingus,
Eric Dolphy,
the Swans,
Deakin,
Mission of Burma,
Ohio Players,
The Smoke,
Barbara Tucker,
The Blackbyrds,
Iggy Pop,
The Pop Group,
Kas Product,
Index,
Gabor Szabo,
Scan 7,
Avey Tare's Slasher Flicks,
T.S.O.L.,
10cc,
Letta Mbulu,
James White and The Blacks,
Bizarre Inc.,
Eddi Front,
Lou Reed & Metallica,
Graham Central Station,
Jesper Dahlback,
Bootsy Collins, Bootsy Collins, Bootsy Collins, Bootsy Collins.
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.