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 Senegal and from Cairo.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Salvador and Accra.
I'm losing my edge to the art-school Beijing 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 snare 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 Sarah Menescal to the punk 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 Brick. All the underground hits.
All The Associates tracks. I heard you have a vinyl of every Cameo record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying an organ and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Section 25 record.
I hear that you and your band have sold your sitar and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Birthday Party,
the Association,
Ronnie Foster,
Talk Talk,
Depeche Mode,
Gastr Del Sol,
Roxy Music,
Louis and Bebe Barron,
Circle Jerks,
Darondo,
the Swans,
Yellowson,
Notorious BIG live in Amsterdam,
The Blackbyrds,
Unrelated Segments,
Boredoms,
Skriet,
New York Dolls,
Prince Buster,
D'Angelo,
The American Breed,
E-Dancer,
Sam Rivers,
World's Most,
Adolescents,
Anthony Braxton,
The Happenings,
Eden Ahbez,
The Toasters,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
L. Decosne,
The Detroit Cobras,
Moebius,
Idris Muhammad,
It's A Beautiful Day,
New Age Steppers,
Barbara Tucker,
Warren Ellis,
Ossler,
Jacob Miller,
Gang Starr,
Boogie Down Productions,
Rahsaan Roland Kirk,
Bang on a Can All-Stars,
Soft Cell,
the Bar-Kays,
Tres Demented,
Nik Kershaw,
Graham Central Station,
Colin Newman,
Byron Stingily,
Ajijia Myrayebe,
Al Stewart,
Suicide,
Avey Tare,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Das Ding,
Peter & Gordon,
Angry Samoans,
Selector Dub Narcotic,
Liaisons Dangereuses,
Roy Ayers Ubiquity,
Severed Heads, Severed Heads, Severed Heads, Severed Heads.
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.