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 Belgium and from Manila.
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 1967 to 1976.
I'm losing my edge.
To all the kids in Tokyo and Columbus.
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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the theremin 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 Sarah Menescal to the electroclash 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 Glenn Branca. All the underground hits.
All Josef K tracks. I heard you have a vinyl of every Drive Like Jehu 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 '70s.
I hear you're buying a theremin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Vladislav Delay record.
I hear that you and your band have sold your mellotron and bought an oboe.
I hear that you and your band have sold your oboe and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Angry Samoans,
Major Organ And The Adding Machine,
AZ,
James Chance & The Contortions,
The Zeros,
Roxy Music,
Stockholm Monsters,
Neu!,
Little Man,
Malaria!,
CMW,
Ajijia Myrayebe,
Oblivians,
Iggy Pop,
Deakin,
Television,
The Evens,
Minnie Riperton,
These Immortal Souls,
Trumans Water,
Second Layer,
Kenny Larkin,
Joe Finger,
Ornette Coleman,
Pussy Galore,
Sex Pistols,
Pet Shop Boys,
One Last Wish,
The Stooges,
Electric Prunes,
Roger Hodgson,
Ohio Players,
Theoretical Girls,
Fluxion,
Fela Kuti,
The Mummies,
Black Bananas,
Richard Hell and the Voidoids,
Roxette,
New York Dolls,
Charles Mingus,
MC5,
Funkadelic,
Skriet,
The Knickerbockers,
Tubeway Army,
La Düsseldorf,
Art Ensemble Of Chicago,
Rhythm & Sound,
Eli Mardock,
Ten City,
Public Image Ltd.,
Rapeman,
Bobby Hutcherson,
Reagan Youth,
The Shadows of Knight,
Grey Daturas,
Dawn Penn,
Al Stewart,
The Names,
Darondo,
Lightning Bolt,
Magma, Magma, Magma, Magma.
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.