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 Austria and from Jakarta.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Spokane and New York.
I'm losing my edge to the art-school Portland 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 spring reverb 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 Freddie Wadling to the techno 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 Adolescents. All the underground hits.
All Louis and Bebe Barron tracks. I heard you have a vinyl of every June of 44 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 '60s cut and another box set from the '80s.
I hear you're buying a mellotron and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Blues Magoos record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jandek,
Procol Harum,
Bronski Beat,
Delta 5,
Organ,
the Human League,
Jeff Mills,
Ossler,
Gabor Szabo,
Metal Thangz,
The Five Americans,
Clear Light,
U.S. Maple,
Desert Stars,
The Trojans,
Sam Rivers,
Lee Hazlewood,
Oppenheimer Analysis,
Rosa Yemen,
Unrelated Segments,
Make Up,
John Holt,
Animal Collective,
Pierre Henry,
DeepChord presents Echospace,
Josef K,
The Litter,
Ponytail,
Y Pants,
Dave Gahan,
Moss Icon,
Jesper Dahlback,
B.T. Express,
MDC,
Mark Hollis,
Deadbeat,
Sugar Minott,
Sixth Finger,
Ohio Players,
The Moody Blues,
Gang of Four,
Suburban Knight,
Yaz,
Big Daddy Kane,
Junior Murvin,
Godley & Creme,
Stereo Dub,
Leonard Cohen,
Tropical Tobacco,
Echo & the Bunnymen,
Camouflage,
The Alarm Clocks,
The Standells,
Terry Callier,
Eyeless In Gaza,
Zero Boys,
Super Lover Cee & Casanova Rud,
Thompson Twins,
Janne Schatter,
Mandrill,
Juan Atkins, Juan Atkins, Juan Atkins, Juan Atkins.
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.