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 Eritrea and from Lille.
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 1961 to 1978.
I'm losing my edge.
To all the kids in Johannesburg and Beijing.
I'm losing my edge to the art-school Sao Paulo 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the theremin sounds with much patience.
I was there when Robert Palmer 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 Iggy Pop to the disco 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 Larry & the Blue Notes. All the underground hits.
All Kevin Saunderson tracks. I heard you have a vinyl of every Danielle Patucci 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 '50s cut and another box set from the '90s.
I hear you're buying a spring reverb and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Busters record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gastr Del Sol,
Organ,
Deutsch Amerikanische Freundschaft,
Crispian St. Peters,
Sarah Menescal,
Laurel Aitken,
Avey Tare's Slasher Flicks,
Fugazi,
Blancmange,
Lalo Schifrin,
Marc Almond,
Dr. Dre and Snoop Doggy Dog,
T.S.O.L.,
Scion,
Donny Hathaway,
Leonard Cohen,
Terrestrial Tones,
Ajijia Myrayebe,
Dawn Penn,
Stockholm Monsters,
John Holt,
Spandau Ballet,
Procol Harum,
Supertramp,
Cameo,
PIL,
Magazine,
Agent Orange,
Los Fastidios,
Negative Approach,
DeepChord presents Echospace,
The Five Americans,
Anthony Braxton,
Au Pairs,
Amon Düül,
The Busters,
Erykah Badu,
Avey Tare & Kría Brekkan,
Pharaoh Sanders and the Fire Engines,
Underground Resistance,
Bush Tetras,
The Move,
cv313,
De La Soul & Jungle Brothers,
Eric Copeland,
Fluxion,
One Last Wish,
The Selecter,
Vainqueur,
Boz Scaggs,
Andrew Ashong & Theo Parrish,
Gang of Four,
Lizzy Mercier Descloux,
Surgeon,
Section 25,
Fear,
Brick,
Rhythm & Sound,
Kas Product,
The Star Department,
Marvin Gaye,
Amazonics, Amazonics, Amazonics, Amazonics.
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.