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 Ethiopia and from Sao Paulo.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Johannesburg and Philadelphia.
I'm losing my edge to the art-school Mumbai 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 harpsichord 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 The Move to the rock kids.
I played it at Trash.
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 Dorothy Ashby. All the underground hits.
All Roxy Music tracks. I heard you have a vinyl of every Inner City record on German import.
I heard that you have a white label of every seminal grunge 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 theremin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Boredoms record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lyres,
JFA,
John Holt,
Pharoah Sanders,
Althea and Donna,
Amon Düül,
ABC,
Ossler,
Sound Behaviour,
Danielle Patucci,
Nick Fraelich,
The Gun Club,
Electric Light Orchestra,
Rites of Spring,
Pierre Henry,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Stiv Bators,
Skarface,
The Walker Brothers,
Cecil Taylor,
Joyce Sims,
Cal Tjader,
Terror Squad Feat. Camron,
Jeru the Damaja,
Mark Hollis,
Joy Division,
Camouflage,
Alice Coltrane,
Jesper Dahlback,
Easy Going,
The Smoke,
Davy DMX,
Make Up,
Das Ding,
Funkadelic,
Aaron Thompson,
Roy Ayers,
Monolake,
Bobbi Humphrey,
Average White Band,
The Durutti Column,
FM Einheit,
Angels of Light & Akron/Family,
Icehouse,
Juan Atkins,
Bill Near,
Young Marble Giants,
Jacques Brel,
John Cale,
The Grass Roots,
Wighnomy Brothers & Robag Wruhme,
Peter and Kerry,
Country Teasers,
Los Fastidios,
Magazine,
The Pop Group,
Skriet,
Harmonia,
Little Man,
Qualms,
Rapeman,
The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band.
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.