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 Bangladesh and from Manila.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Madrid and Bremen.
I'm losing my edge to the art-school Copenhagen 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 güiro 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 Gabor Szabo to the grime kids.
I played it at Trash.
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 Marcia Griffiths. All the underground hits.
All The Red Krayola tracks. I heard you have a vinyl of every Buzzcocks record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a synthesizer and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Popol Vuh record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Red Lorry Yellow Lorry,
The Monochrome Set,
Stereo Dub,
Pere Ubu,
Slick Rick,
Quando Quango,
Mission of Burma,
Bronski Beat,
Barclay James Harvest,
Lou Reed & Metallica,
The Index,
Lou Christie,
The Mighty Diamonds,
T.S.O.L.,
Siglo XX,
Deakin,
Danielle Patucci,
Agent Orange,
The Trojans,
Gang of Four,
Urselle,
Eric Copeland,
Jandek,
Echospace,
Pantaleimon,
Gabor Szabo,
The Angels of Light,
Make Up,
Thee Headcoats,
Deadbeat,
Essential Logic,
The Remains,
New Age Steppers,
Rod Modell,
Little Man,
Smog,
JFA,
Andrew Ashong & Theo Parrish,
Byron Stingily,
Bootsy Collins,
Steve Hackett,
Popol Vuh,
the Fania All-Stars,
The Doobie Brothers,
David McCallum,
Unwound,
The Happenings,
Swell Maps,
Susan Cadogan,
Yaz,
Boogie Down Productions,
Basic Channel,
Johnny Clarke,
Harmonia,
David Axelrod,
Bluetip,
Lou Reed & John Cale,
Blake Baxter,
Ajijia Myrayebe,
Bill Wells,
The Golliwogs,
Groovy Waters,
Jimmy McGriff,
Grey Daturas, Grey Daturas, Grey Daturas, Grey Daturas.
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.