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 Malaysia and from Tehran.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Tehran and Columbus.
I'm losing my edge to the art-school London 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 organ 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 Colin Newman to the electroclash kids.
I played it at the Astoria.
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 Bang on a Can All-Stars. All the underground hits.
All Lalo Schifrin tracks. I heard you have a vinyl of every Ituana record on German import.
I heard that you have a white label of every seminal rap 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 güiro and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Kauko Röyhkä ja Narttu record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gian Franco Pienzio,
Gil Scott-Heron & Brian Jackson,
Kings Of Tomorrow,
Toni Rubio,
the Association,
Carl Craig,
London Community Gospel Choir,
Glambeats Corp.,
Stereo Dub,
Tomorrow,
The Walker Brothers,
Rakim,
Cymande,
Susan Cadogan,
Slave,
Unrelated Segments,
Cabaret Voltaire,
The Star Department,
Negative Approach,
Teenage Jesus and the Jerks,
The Fugs,
Kayak,
Rhythim Is Rhythim,
The Chocolate Watch Band,
The Blackbyrds,
The Selecter,
Wire,
Sixth Finger,
Leonard Cohen,
Skarface,
Nick Cave & The Bad Seeds,
Lucky Dragons,
Black Moon,
the Human League,
Jesper Dahlbäck,
Mr. Review,
The Toasters,
Marmalade,
Sunsets and Hearts,
June of 44,
B.T. Express,
Graham Central Station,
Fat Boys,
Scion,
Porter Ricks,
Robert Hood,
The Moleskins,
The Birthday Party,
The Misunderstood,
Barclay James Harvest,
Mad Mike,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Lightning Bolt,
Bronski Beat,
Alphaville,
Avey Tare,
The Count Five,
These Immortal Souls,
Yaz,
Avey Tare & Kría Brekkan,
The Cure, The Cure, The Cure, The Cure.
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.