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 Solomon Islands and from Spokane.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Portland and Stockholm.
I'm losing my edge to the art-school Bremen 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 rhodes sounds with much patience.
I was there when Lou Reed 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 Aaron Thompson to the punk kids.
I played it at Cafe Wha.
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 James Chance & The Contortions. All the underground hits.
All Jeff Mills tracks. I heard you have a vinyl of every Interpol 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 '60s cut and another box set from the '80s.
I hear you're buying a spring reverb and an organ and are throwing your macbook out the window because you want to make something real. You want to make a UT record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fat Boys,
Jawbox,
Thee Headcoats,
Ajijia Myrayebe,
Rhythm & Sound,
Talk Talk,
H. Thieme,
The Music Machine,
The Shadows of Knight,
Janne Schatter,
The Walker Brothers,
The Peanut Butter Conspiracy,
Gil Scott-Heron & Brian Jackson,
Fad Gadget,
Zero Boys,
Jesper Dahlback,
The Moody Blues,
Todd Terry,
Procol Harum,
The Gories,
Erykah Badu,
The Neon Judgement,
Sam Rivers,
The Fire Engines,
Newcleus,
Crispian St. Peters,
Ornette Coleman,
Anthony Braxton,
Drive Like Jehu,
Tubeway Army,
Curtis Mayfield,
Kango’s Stein Massive,
Johnny Osbourne,
Sonic Youth,
The West Coast Pop Art Experimental Band,
Franke,
Anakelly,
Connie Case,
Flash Fearless,
Bob Dylan,
Camberwell Now,
Maurizio,
JFA,
Au Pairs,
Slick Rick,
The Velvet Underground,
Lou Reed,
The Names,
Traffic Nightmare,
Henry Cow,
Notorious Big And Bone Thugs,
Gian Franco Pienzio,
John Holt,
Black Sheep,
Wings,
Severed Heads,
Reagan Youth,
cv313,
Sight & Sound,
Peter & Gordon,
Davy DMX,
L. Decosne,
Lindisfarne,
Lebanon Hanover, Lebanon Hanover, Lebanon Hanover, Lebanon Hanover.
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.