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 Jamaica and from Winnipeg.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1973.
I'm losing my edge.
To all the kids in Bologna and Lyon.
I'm losing my edge to the art-school Taipei 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 Gil Scott Heron to the rock kids.
I played it at the 40 Watt.
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 Mars. All the underground hits.
All Mark Hollis tracks. I heard you have a vinyl of every David McCallum 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 '70s cut and another box set from the '90s.
I hear you're buying a sitar and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Gong record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jawbox,
The Count Five,
Peter and Kerry,
Drive Like Jehu,
Crispy Ambulance,
Gil Scott-Heron & Brian Jackson,
Pagans,
Mo-Dettes,
Alton Ellis,
Richard Hell and the Voidoids,
Crash Course in Science,
Bobby Byrd,
The Dead C,
Siouxsie and the Banshees,
Roy Ayers Ubiquity,
Be Bop Deluxe,
a-ha,
Röyhkä ja Rättö ja Lehtisalo,
The Smiths,
Basic Channel,
The Jesus and Mary Chain,
The Young Rascals,
Avey Tare & Kría Brekkan,
Sad Lovers and Giants,
The Slackers,
Marmalade,
The Black Dice,
JFA,
Bill Near,
The Kinks,
Electric Light Orchestra,
Throbbing Gristle,
Brand Nubian,
Ohio Players,
Pete Rock & C.L. Smooth,
Ultravox,
The Doobie Brothers,
Ralphi Rosario,
Crooked Eye,
Albert Ayler,
Nico,
London Community Gospel Choir,
The Alarm Clocks,
Kauko Röyhkä ja Narttu,
Fear,
Charles Mingus,
Flash Fearless,
Graham Central Station,
Circle Jerks,
The Litter,
Robert Hood,
X-102,
Second Layer,
Desert Stars,
Mad Mike,
Faust,
Infiniti,
Cheater Slicks,
The Pretty Things,
Lucky Dragons,
Stetsasonic,
the Swans,
Sound Behaviour, Sound Behaviour, Sound Behaviour, Sound Behaviour.
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.