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 Somalia and from Tehran.
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 1977.
I'm losing my edge.
To all the kids in Lyon and Glasgow.
I'm losing my edge to the art-school Calgary 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 Robert Palmer 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 Rahsaan Roland Kirk to the electroclash 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 The Grass Roots. All the underground hits.
All the Swans tracks. I heard you have a vinyl of every Silicon Teens record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a güiro and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Associates record.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Suburban Knight,
a-ha,
Rites of Spring,
Aaron Thompson,
Roy Ayers Ubiquity,
Echo & the Bunnymen,
Echospace,
the Germs,
The Move,
Derrick Morgan,
The Mojo Men,
Avey Tare,
Sonic Youth,
H. Thieme,
Pete Rock & C.L. Smooth,
Chrome,
Sunsets and Hearts,
Ash Ra Tempel,
D'Angelo,
Rowland S Howard / Lydia Lunch,
Q65,
Deakin,
The West Coast Pop Art Experimental Band,
London Community Gospel Choir,
Captain Beefheart & His Magic Band,
Liaisons Dangereuses,
U.S. Maple,
8 Eyed Spy,
The Vogues,
Kayak,
The Techniques,
Fad Gadget,
The Barracudas,
Ossler,
The Fuzztones,
Nico,
John Cale,
The Seeds,
The Gun Club,
Magazine,
The Cosmic Jokers,
The Men They Couldn't Hang,
Erasure,
the Bar-Kays,
Whodini,
Sun City Girls,
Avey Tare & Kría Brekkan,
Sonny Sharrock,
Thompson Twins,
The Music Machine,
the Swans,
OOIOO,
Frankie Knuckles,
Gary Puckett & The Union Gap,
Andrew Hill,
Faust,
Reuben Wilson,
Quantec,
The Doors,
The Mummies,
Technova,
Traffic Nightmare,
Crime,
Harmonia,
Parry Music, Parry Music, Parry Music, Parry Music.
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.