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 Sweden and from Copenhagen.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 Lagos and Houston.
I'm losing my edge to the art-school Lille 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 marimba sounds with much patience.
I was there when Michael McDonald 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 Eli Mardock to the electroclash kids.
I played it at CBGB's.
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 Orchestral Manoeuvres in the Dark. All the underground hits.
All Bobby Sherman tracks. I heard you have a vinyl of every Bill Near record on German import.
I heard that you have a white label of every seminal jazz 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 mellotron and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Andrew Hill record.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultramagnetic MC's,
AZ,
Cabaret Voltaire,
The Detroit Cobras,
Newcleus,
Tommy Roe,
Soulsonic Force,
Henry Cow,
Pagans,
Negative Approach,
World's Most,
Parry Music,
Eyeless In Gaza,
The Velvet Underground,
The Seeds,
Sun City Girls,
Ash Ra Tempel,
Glenn Branca,
Patti Smith,
Kool G Rap & DJ Polo,
Bootsy Collins,
48th St. Collective,
Jacob Miller,
Orchestral Manoeuvres in the Dark,
Severed Heads,
Television Personalities,
Gabor Szabo,
Bizarre Inc.,
Lightning Bolt,
Agent Orange,
Matthew Bourne,
The Litter,
The United States of America,
Manfred Mann's Earth Band,
Intrusion,
Delta 5,
the Soft Cell,
Peter & Gordon,
Kango’s Stein Massive,
Nick Fraelich,
Marcia Griffiths,
Brick,
Neu!,
Traffic Nightmare,
Qualms,
Unwound,
Mantronix,
Cameo,
Rosa Yemen,
Sonic Youth,
Panda Bear,
Nik Kershaw,
Bob Dylan,
Sticky Fingaz feat. Raekwon,
Frankie Knuckles,
Marine Girls,
The Black Dice,
Nils Olav,
Aswad,
The Techniques,
Kas Product,
Marc Romboy vs. Booka Shade,
Scott Walker, Scott Walker, Scott Walker, Scott Walker.
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.