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 East Timor and from New York.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1962 to 1973.
I'm losing my edge.
To all the kids in Philadelphia and Johannesburg.
I'm losing my edge to the art-school Madrid 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the linndrum sounds with much patience.
I was there when Donald Fagen 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 The West Coast Pop Art Experimental Band to the jazz kids.
I played it at the Roxy.
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 Bootsy Collins. All the underground hits.
All Grauzone tracks. I heard you have a vinyl of every R.M.O. record on German import.
I heard that you have a white label of every seminal grime 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 marimba and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Chris Corsano record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer 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?
Cluster,
Andrew Ashong & Theo Parrish,
Marc Almond,
Thee Headcoats,
Alton Ellis,
cv313,
Bluetip,
Parry Music,
Clear Light,
Sound Behaviour,
Slave,
Thinking Fellers Union Local 282,
Dawn Penn,
The Misunderstood,
Funky Four + One,
Amon Düül II,
X-102,
It's A Beautiful Day,
Pantytec,
Vladislav Delay,
Crash Course in Science,
Buzzcocks,
Idris Muhammad,
Alison Limerick,
Blossom Toes,
Nick Cave & The Bad Seeds,
Jesper Dahlbäck,
Johnny Clarke,
Barrington Levy,
A Flock of Seagulls,
Röyhkä ja Rättö ja Lehtisalo,
8 Eyed Spy,
Larry & the Blue Notes,
Chrome,
The Index,
Heaven 17,
Second Layer,
Stiv Bators,
Soft Cell,
The Durutti Column,
Skriet,
Neu!,
Mr. Review,
Angry Samoans,
June of 44,
Harpers Bizarre,
Jeru the Damaja,
Flipper,
Bang On A Can,
Public Image Ltd.,
H. Thieme,
Junior Murvin,
Soft Machine,
The Standells,
MC5,
The Dirtbombs,
Wolf Eyes,
Camouflage,
Desert Stars,
Danielle Patucci,
Lower 48,
Hot Snakes, Hot Snakes, Hot Snakes, Hot Snakes.
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.