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 Cameroon and from Philadelphia.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Manila and Philadelphia.
I'm losing my edge to the art-school Copenhagen 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 spring reverb 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 Crispian St. Peters to the disco kids.
I played it at the Spitz.
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 Aaron Thompson. All the underground hits.
All Albert Ayler tracks. I heard you have a vinyl of every Gong record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a sitar and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Das Ding record.
I hear that you and your band have sold your theremin and bought a sitar.
I hear that you and your band have sold your sitar and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eli Mardock,
Minor Threat,
The Searchers,
Main Source,
James White and The Blacks,
Bob Dylan,
Brand Nubian,
The Detroit Cobras,
Grandmaster Flash,
Monolake,
Frankie Knuckles,
Gabor Szabo,
Beasts of Bourbon,
Ultra Naté,
Sugar Minott,
Harpers Bizarre,
Kevin Saunderson,
The Count Five,
Leonard Cohen,
Carl Craig,
Alice Coltrane,
Khruangbin,
Stereo Dub,
Brick,
Rakim,
The Young Rascals,
Loose Ends,
Parry Music,
Symarip,
T.S.O.L.,
F. McDonald,
kango's stein massive,
Eve St. Jones,
Gang Gang Dance,
The Moleskins,
The Fugs,
JFA,
Bang on a Can All-Stars,
Faraquet,
Easy Going,
Mantronix,
Pulsallama,
Tomorrow,
Laurel Aitken,
Marc Romboy vs. Booka Shade,
Sister Nancy,
Television Personalities,
A Certain Ratio,
The Sound,
Tim Buckley,
Scott Walker,
Matthew Halsall,
X-102,
Public Image Ltd.,
Organ,
Justin Hinds & The Dominoes,
Soft Machine,
Sun Ra,
48th St. Collective,
The Men They Couldn't Hang,
Hashim,
Rufus Thomas,
Cabaret Voltaire, Cabaret Voltaire, Cabaret Voltaire, Cabaret Voltaire.
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.