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 Taipei.
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 1976.
I'm losing my edge.
To all the kids in London and Calgary.
I'm losing my edge to the art-school New York 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 rhodes 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 Loose Ends to the jazz 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 Bill Near. All the underground hits.
All The Smoke tracks. I heard you have a vinyl of every Anthony Braxton record on German import.
I heard that you have a white label of every seminal disco 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 linndrum and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a the Bar-Kays record.
I hear that you and your band have sold your theremin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Cramps,
Selector Dub Narcotic,
Nico,
Sun Ra,
John Foxx,
The Blues Magoos,
Slave,
Red Lorry Yellow Lorry,
Zapp,
Faraquet,
Sam Rivers,
Matthew Halsall,
Joensuu 1685,
Lalo Schifrin,
Oppenheimer Analysis,
Eli Mardock,
Alton Ellis,
ABC,
Ossler,
Avey Tare,
The Beau Brummels,
Alphaville,
Harpers Bizarre,
Wings,
10cc,
Jawbox,
Notorious BIG live in Amsterdam,
Goldenarms,
Stereo Dub,
the Normal,
Technova,
Marcia Griffiths,
Terrestrial Tones,
The Alarm Clocks,
Barclay James Harvest,
Curtis Mayfield,
Sarah Menescal,
The Toasters,
The Slackers,
Mad Mike,
Cybotron,
Mary Jane Girls,
Strawberry Alarm Clock,
Reagan Youth,
Yusef Lateef,
Negative Approach,
Louis and Bebe Barron,
The Moody Blues,
Oneida,
Boz Scaggs,
Mission of Burma,
Charles Mingus,
Harmonia,
Davy DMX,
Supertramp,
the Germs,
The Monks,
Nils Olav,
Lafayette Afro Rock Band,
Bush Tetras,
Sight & Sound,
Connie Case,
Heaven 17, Heaven 17, Heaven 17, Heaven 17.
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.