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 Haiti and from Bremen.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1968 to 1976.
I'm losing my edge.
To all the kids in New York and Lagos.
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 chamberlin sounds with much patience.
I was there when Captain Beefheart 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 Red Lorry Yellow Lorry to the electroclash kids.
I played it at the Troubador.
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 Suicide. All the underground hits.
All Bobbi Humphrey tracks. I heard you have a vinyl of every Qualms 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 '70s cut and another box set from the '90s.
I hear you're buying a harpsichord and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Clear Light record.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear that you and your band have sold your marimba 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?
Lee Hazlewood,
Rhythm & Sound,
Adolescents,
Gary Puckett & The Union Gap,
ABC,
the Bar-Kays,
Eric Dolphy,
Echospace,
Joe Smooth,
Model 500,
James Chance & The Contortions,
Mission of Burma,
Blancmange,
Gichy Dan,
Funkadelic,
Brick,
Oppenheimer Analysis,
Q and Not U,
Pagans,
the Human League,
Notorious Big And Bone Thugs,
The Happenings,
The Remains,
Black Pus,
Masters at Work,
Steve Hackett,
Throbbing Gristle,
Marcia Griffiths,
Bauhaus,
The Jesus and Mary Chain,
Circle Jerks,
The Last Poets,
Mark Hollis,
Sound Behaviour,
Big Daddy Kane,
Peter and Kerry,
Delon & Dalcan,
New Order,
The Martian,
Visage,
the Germs,
Sonic Youth,
Curtis Mayfield,
Icehouse,
Selector Dub Narcotic,
The New Christs,
Ten City,
Unwound,
Avey Tare's Slasher Flicks,
Country Teasers,
Scott Walker + Sunn O))),
The Knickerbockers,
The Toasters,
Warren Ellis,
Bobby Womack,
Parry Music,
Wasted Youth,
Nik Kershaw,
Lou Reed & Metallica,
Cecil Taylor,
Lizzy Mercier Descloux,
Ponytail,
The Moleskins,
Gastr Del Sol, Gastr Del Sol, Gastr Del Sol, Gastr Del Sol.
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.