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 Costa Rica and from Milan.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Bologna and Salvador.
I'm losing my edge to the art-school Paris 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the spring reverb sounds with much patience.
I was there when Donald Fagen 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 Intrusion to the dance kids.
I played it at the Troubador.
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 Royal Trux. All the underground hits.
All Urselle tracks. I heard you have a vinyl of every Lebanon Hanover 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 '80s cut and another box set from the '90s.
I hear you're buying a güiro and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Lizzy Mercier Descloux record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roy Ayers,
Skriet,
In Retrospect,
Soul II Soul,
Deepchord,
Rakim,
Terry Callier,
Sun Ra,
Steve Hackett,
The Fire Engines,
The Knickerbockers,
Youth Brigade,
T.S.O.L.,
Nik Kershaw,
Scion,
Fad Gadget,
Reuben Wilson,
Hot Snakes,
Whodini,
48th St. Collective,
Avey Tare,
Faraquet,
Anthony Braxton,
Pet Shop Boys,
X-101,
The Human League,
the Human League,
Major Organ And The Adding Machine,
Stereo Dub,
Pussy Galore,
The Divine Comedy,
The Slackers,
The Index,
CMW,
a-ha,
Babytalk,
World's Most,
Jawbox,
Glambeats Corp.,
Duran Duran,
Moss Icon,
Sunsets and Hearts,
Ronnie Foster,
The Motions,
Rahsaan Roland Kirk,
The Cowsills,
AZ,
Mantronix,
Frankie Knuckles,
Blancmange,
Porter Ricks,
Tropical Tobacco,
Q65,
The Cramps,
Nirvana,
Chris & Cosey,
Mission of Burma,
Soft Machine,
Junior Murvin,
Chris Corsano,
Echospace,
The Leaves, The Leaves, The Leaves, The Leaves.
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.