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 Afghanistan and from Spokane.
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 1965 to 1978.
I'm losing my edge.
To all the kids in Lagos and Cairo.
I'm losing my edge to the art-school Delhi 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 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 Pantaleimon to the electroclash kids.
I played it at the Astoria.
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 Guru Guru. All the underground hits.
All Ajijia Myrayebe tracks. I heard you have a vinyl of every The Star Department record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a linndrum and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Crispy Ambulance record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joyce Sims,
Ralphi Rosario,
Sixth Finger,
The Cure,
Gil Scott-Heron and Jamie xx,
John Lydon,
Inner City,
Ultramagnetic MC's,
Darondo,
Bob Dylan,
Amon Düül II,
Nick Fraelich,
Archie Shepp,
The Red Krayola,
Negative Approach,
Flipper,
The Gap Band,
Severed Heads,
Red Lorry Yellow Lorry,
Kings Of Tomorrow,
Junior Murvin,
Kevin Saunderson,
Quando Quango,
Schoolly D,
Technova,
Rites of Spring,
Dennis Brown,
Simply Red,
Cybotron,
Ajijia Myrayebe,
Scion,
Rhythim Is Rhythim,
kango's stein massive,
The Tremeloes,
Crooked Eye,
Bobby Hutcherson,
Captain Beefheart & His Magic Band,
Cluster,
Massinfluence,
Radio Birdman,
Sight & Sound,
Bill Wells,
Procol Harum,
Amazonics,
The Monochrome Set,
Jacques Brel,
Sun Ra Arkestra,
Mantronix,
Skriet,
The Trojans,
Bad Manners,
Avey Tare & Kría Brekkan,
It's A Beautiful Day,
Manfred Mann's Earth Band,
Avey Tare's Slasher Flicks,
Swans,
Crispian St. Peters,
Rufus Thomas,
Camouflage,
This Heat,
Hot Snakes,
U.S. Maple,
Barry Ungar,
Gichy Dan, Gichy Dan, Gichy Dan, Gichy Dan.
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.