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 Qatar and from New York.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Taipei and Winnipeg.
I'm losing my edge to the art-school Taipei 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 Tom Verlaine 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 48th St. Collective to the jazz kids.
I played it at the Hacienda.
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 Saccharine Trust. All the underground hits.
All Fort Wilson Riot tracks. I heard you have a vinyl of every The Detroit Cobras 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 '90s.
I hear you're buying a harpsichord and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Ultra Naté record.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rahsaan Roland Kirk,
Schoolly D,
Motorama,
Pere Ubu,
Grandmaster Flash and the Furious Five,
Banda Bassotti,
The Peanut Butter Conspiracy,
The Fuzztones,
Pylon,
Mary Jane Girls,
Theoretical Girls,
The Saints,
Public Enemy,
10cc,
Warren Ellis,
Ronan,
Audionom,
The Litter,
Byron Stingily,
Q65,
Gastr Del Sol,
Sällskapet,
Ossler,
Albert Ayler,
Thompson Twins,
The Standells,
Deadbeat,
Angels of Light & Akron/Family,
The Divine Comedy,
Qualms,
D'Angelo,
Aural Exciters,
Chris & Cosey,
Teenage Jesus and the Jerks,
Lonnie Liston Smith,
Lafayette Afro Rock Band,
The Zeros,
Camberwell Now,
Morten Harket,
Graham Central Station,
Adolescents,
Joy Division,
Goldenarms,
Robert Hood,
PIL,
Model 500,
Althea and Donna,
New York Dolls,
the Slits,
Jeru the Damaja,
The Dirtbombs,
Vainqueur,
Notorious BIG live in Amsterdam,
Brass Construction,
Ponytail,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Kevin Saunderson,
Depeche Mode,
the Bar-Kays,
June Days,
Q and Not U,
Bizarre Inc., Bizarre Inc., Bizarre Inc., Bizarre Inc..
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.