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 Sri Lanka and from New York.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1973.
I'm losing my edge.
To all the kids in Salvador and London.
I'm losing my edge to the art-school Lagos 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 at the first Suicide practice in a loft in New York.
I was working on the guitar 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 Sad Lovers and Giants to the jazz 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 FM Einheit. All the underground hits.
All Wire tracks. I heard you have a vinyl of every Q and Not U 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 '70s cut and another box set from the '70s.
I hear you're buying a theremin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Soft Machine record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Half Japanese,
Bobby Sherman,
Model 500,
Dorothy Ashby,
Inner City,
Pantaleimon,
The Toasters,
The United States of America,
Janne Schatter,
The Index,
Organ,
Andrew Hill,
Black Pus,
The Busters,
Lakeside,
Traffic Nightmare,
The Zeros,
Ituana,
The Blues Magoos,
The Golliwogs,
DJ Style,
The Cramps,
Siglo XX,
The Vogues,
Lonnie Liston Smith,
Panda Bear,
Tomorrow,
Sound Behaviour,
Wolf Eyes,
Marc Romboy vs. Booka Shade,
Terrestrial Tones,
Peter & Gordon,
Louis and Bebe Barron,
Minnie Riperton,
The Martian,
Ultra Naté,
Chris Corsano,
Sällskapet,
Gang of Four,
OOIOO,
Nico,
The Stooges,
Steve Hackett,
The Royal Family And The Poor,
Al Stewart,
Cal Tjader,
ABBA,
Masters at Work,
Todd Rundgren,
The Blackbyrds,
Mantronix,
Trumans Water,
Rekid,
Fluxion,
Amon Düül,
Alison Limerick,
Marvin Gaye,
The Selecter,
Althea and Donna,
Swans,
Robert Hood,
Drive Like Jehu,
Aloha Tigers, Aloha Tigers, Aloha Tigers, Aloha Tigers.
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.