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 Austria and from Sao Paulo.
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 1970.
I'm losing my edge.
To all the kids in Lyon and Copenhagen.
I'm losing my edge to the art-school Hong Kong 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 marimba sounds with much patience.
I was there when Tom Verlaine 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 Cramps to the rock kids.
I played it at CBGB's.
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 EPMD. All the underground hits.
All Avey Tare tracks. I heard you have a vinyl of every Mars record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Bang On A Can record.
I hear that you and your band have sold your güiro and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Notorious Big And Bone Thugs,
The United States of America,
Sun Ra Arkestra,
The Young Rascals,
Nirvana,
Khruangbin,
The Modern Lovers,
China Crisis,
Danielle Patucci,
Kenny Larkin,
The Offenders,
Lalann,
Motorama,
Charles Mingus,
Joyce Sims,
Sun City Girls,
Bad Manners,
Deadbeat,
the Soft Cell,
Gil Scott-Heron and Jamie xx,
L. Decosne,
Derrick Morgan,
Swell Maps,
Monolake,
Spoonie Gee,
Hoover,
Brick,
Marc Romboy vs. Booka Shade,
Tom Boy,
Scrapy,
The Sisters of Mercy,
Unrelated Segments,
Kaleidoscope,
MC5,
Barclay James Harvest,
Gregory Isaacs,
Nik Kershaw,
The Sound,
Yaz,
Lebanon Hanover,
The Dead C,
Ohio Players,
Rufus Thomas,
Country Teasers,
Anthony Braxton,
Kerrie Biddell,
Sparks,
Ossler,
Clear Light,
Tears for Fears,
Echo & the Bunnymen,
Sunsets and Hearts,
Pantaleimon,
Harry Pussy,
Magma,
Alice Coltrane,
Guru Guru,
James Chance & The Contortions,
Warsaw,
Kool G Rap & DJ Polo,
The Martian, The Martian, The Martian, The Martian.
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.