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 Oman and from Manila.
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 1972.
I'm losing my edge.
To all the kids in Lille and Milan.
I'm losing my edge to the art-school Columbus 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 harpsichord 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 Robert Görl to the electroclash kids.
I played it at CBGB's.
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 MDC. All the underground hits.
All Adolescents tracks. I heard you have a vinyl of every Livin' Joy record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a 808 and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Sister Nancy record.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Flipper,
The Fire Engines,
This Heat,
Connie Case,
Erykah Badu,
Dark Day,
Slick Rick,
The Black Dice,
Gang Gang Dance,
It's A Beautiful Day,
Alice Coltrane,
Black Moon,
Public Image Ltd.,
Susan Cadogan,
Howard Jones,
Stockholm Monsters,
Traffic Nightmare,
Eddi Front,
Japan,
Country Joe & The Fish,
Eric Dolphy,
The Young Rascals,
The Index,
The Human League,
Henry Cow,
The Monochrome Set,
Bronski Beat,
Model 500,
Flash Fearless,
Trumans Water,
Kaleidoscope,
U.S. Maple,
Index,
The Gladiators,
Radiopuhelimet,
John Lydon,
David McCallum,
Deadbeat,
Youth Brigade,
Jacques Brel,
The Sound,
Silicon Teens,
The Alarm Clocks,
Barbara Tucker,
Eric Copeland,
The West Coast Pop Art Experimental Band,
8 Eyed Spy,
Hoover,
The Moody Blues,
Roger Hodgson,
Anthony Braxton,
The Kinks,
Bang on a Can All-Stars,
Amazonics,
The Invisible,
Monks,
Neu!,
The Fugs,
Godley & Creme,
Ossler,
Rhythm & Sound,
Dawn Penn, Dawn Penn, Dawn Penn, Dawn Penn.
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.