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 Paraguay and from Woodstock.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1973.
I'm losing my edge.
To all the kids in Glasgow and Beijing.
I'm losing my edge to the art-school Cairo 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 clarinet 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 Deutsch Amerikanische Freundschaft to the jazz kids.
I played it at Cafe Wha.
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 Barrington Levy. All the underground hits.
All Big Daddy Kane tracks. I heard you have a vinyl of every Roxette record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying an oboe and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Slick Rick record.
I hear that you and your band have sold your synthesizer and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Blancmange,
The Searchers,
Juan Atkins,
Brass Construction,
Dark Day,
Tim Buckley,
The Tremeloes,
Rufus Thomas,
Kaleidoscope,
The Five Americans,
Black Bananas,
Letta Mbulu,
CMW,
Jesper Dahlback,
Excepter,
Monolake,
Amon Düül II,
Leonard Cohen,
June of 44,
Moss Icon,
Nils Olav,
Tears for Fears,
Swans,
The Gun Club,
Jimmy McGriff,
The Monks,
Main Source,
Dr. Dre and Snoop Doggy Dog,
H. Thieme,
Sonic Youth,
The Zeros,
Gil Scott-Heron & Brian Jackson,
The Knickerbockers,
Strawberry Alarm Clock,
Big Daddy Kane,
The Angels of Light,
cv313,
Los Fastidios,
Nas,
Charles Mingus,
Electric Prunes,
The Moleskins,
Anthony Braxton,
Monks,
X-101,
Jerry's Kids,
Johnny Clarke,
Black Sheep,
The Gladiators,
Davy DMX,
Barry Ungar,
Cluster,
Deadbeat,
Kerrie Biddell,
Dead Boys,
Fear,
Josef K,
Zero Boys,
Donny Hathaway,
the Slits,
Fluxion,
Moebius,
Crash Course in Science,
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.