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 Georgia and from Hong Kong.
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 1969 to 1975.
I'm losing my edge.
To all the kids in Cairo and Lille.
I'm losing my edge to the art-school Philadelphia 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 theremin sounds with much patience.
I was there when Lou Reed 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 Buzzcocks to the jazz 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 Mark Hollis. All the underground hits.
All Ornette Coleman tracks. I heard you have a vinyl of every Mr. Review 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 '60s cut and another box set from the '80s.
I hear you're buying a linndrum and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Franke record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Subhumans,
Girls At Our Best!,
Ornette Coleman,
Cameo,
Magma,
Robert Wyatt,
Liliput,
Richard Hell and the Voidoids,
Crime,
Joyce Sims,
Ossler,
Isaac Hayes,
Louis and Bebe Barron,
David Axelrod,
Nik Kershaw,
Sly & The Family Stone,
Aswad,
Judy Mowatt,
Anthony Braxton,
Faust,
These Immortal Souls,
Kaleidoscope,
Depeche Mode,
Kango’s Stein Massive,
Flamin' Groovies,
Rowland S Howard / Lydia Lunch,
The Standells,
The Martian,
Absolute Body Control,
Glambeats Corp.,
Tropical Tobacco,
Lizzy Mercier Descloux,
Eric B and Rakim,
Silicon Teens,
Ajijia Myrayebe,
Guru Guru,
Bob Dylan,
Roy Ayers,
Nas,
The Cramps,
Franke,
Von Mondo,
the Normal,
Neil Young & Crazy Horse,
FM Einheit,
L. Decosne,
the Association,
The Litter,
Soulsonic Force,
Wings,
London Community Gospel Choir,
48th St. Collective,
Terrestrial Tones,
Warsaw,
the Human League,
Shuggie Otis,
Intrusion,
Kauko Röyhkä ja Narttu,
Yaz,
Delon & Dalcan,
Nick Fraelich,
Eurythmics,
Rotary Connection, Rotary Connection, Rotary Connection, Rotary Connection.
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.