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 Dominican Republic and from Shanghai.
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 1962 to 1976.
I'm losing my edge.
To all the kids in London and Stockholm.
I'm losing my edge to the art-school Johannesburg 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the guitar sounds with much patience.
I was there when Holger Czukay 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 Masters at Work to the jazz 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 Rites of Spring. All the underground hits.
All Max Romeo tracks. I heard you have a vinyl of every Susan Cadogan 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 '50s cut and another box set from the '80s.
I hear you're buying a rhodes and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Cluster record.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gichy Dan,
Stetsasonic,
Bill Near,
Stiv Bators,
Deakin,
Circle Jerks,
New York Dolls,
Blake Baxter,
Slave,
Lucky Dragons,
Sly & The Family Stone,
Jandek,
Rahsaan Roland Kirk,
Minor Threat,
The West Coast Pop Art Experimental Band,
DeepChord presents Echospace,
Flash Fearless,
The Electric Prunes,
The Neon Judgement,
Guru Guru,
Unrelated Segments,
Chrome,
The Martian,
Selector Dub Narcotic,
Fat Boys,
Teenage Jesus and the Jerks,
Piero Umiliani,
Agitation Free,
Warsaw,
Neil Young,
LL Cool J,
Byron Stingily,
Young Marble Giants,
Flamin' Groovies,
CMW,
Hasil Adkins,
Drive Like Jehu,
Panda Bear,
The Blues Magoos,
Y Pants,
Wings,
Aloha Tigers,
Scientists,
Fear,
The Dead C,
Arab on Radar,
Judy Mowatt,
Richard Hell and the Voidoids,
Lalo Schifrin,
Loose Ends,
Wally Richardson,
Ponytail,
Main Source,
Black Bananas,
Essential Logic,
The American Breed,
The Residents,
Rekid,
ABC,
The Shadows of Knight,
Roy Ayers Ubiquity,
Negative Approach,
Mad Mike,
Josef K, Josef K, Josef K, Josef K.
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.