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 France and from Portland.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Portland and Mumbai.
I'm losing my edge to the art-school Salvador 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 güiro 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 Arab on Radar to the crunk 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 Jerry Gold Smith. All the underground hits.
All Major Organ And The Adding Machine tracks. I heard you have a vinyl of every Ajijia Myrayebe record on German import.
I heard that you have a white label of every seminal electroclash 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 chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Reagan Youth record.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Clear Light,
Bang On A Can,
Marshall Jefferson,
A Certain Ratio,
Max Romeo,
48th St. Collective,
It's A Beautiful Day,
Yaz,
The Music Machine,
Derrick Morgan,
Brothers Johnson,
Kas Product,
Ultravox,
The Young Rascals,
The Remains,
Stetsasonic,
Leonard Cohen,
The Sound,
Curtis Mayfield,
Y Pants,
Deakin,
These Immortal Souls,
Archie Shepp,
The Fire Engines,
Fatback Band,
Soulsonic Force,
China Crisis,
Mantronix,
Underground Resistance,
Neu!,
The Misunderstood,
Janne Schatter,
Stereo Dub,
Major Organ And The Adding Machine,
Pantytec,
KRS-One,
CMW,
Drive Like Jehu,
Gregory Isaacs,
Hardrive,
Minor Threat,
Kool Moe Dee,
Quando Quango,
Con Funk Shun,
Lindisfarne,
Patti Smith,
Mad Mike,
Sixth Finger,
Sonny Sharrock,
Buzzcocks,
Excepter,
Nils Olav,
E-Dancer,
Bauhaus,
Surgeon,
Roy Ayers Ubiquity,
The Beau Brummels,
Depeche Mode,
Alton Ellis,
The Mighty Diamonds,
Albert Ayler, Albert Ayler, Albert Ayler, Albert Ayler.
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.