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 Iceland and from Calgary.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1975.
I'm losing my edge.
To all the kids in Jakarta and Paris.
I'm losing my edge to the art-school Houston 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 1976 at the first Chic practice in a loft in New York.
I was working on the 808 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 Bad Manners to the rap kids.
I played it at Trash.
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 Dorothy Ashby. All the underground hits.
All 48th St. Collective tracks. I heard you have a vinyl of every Chris Corsano record on German import.
I heard that you have a white label of every seminal rock 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 güiro and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a The Names record.
I hear that you and your band have sold your theremin and bought a marimba.
I hear that you and your band have sold your marimba and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Albert Ayler,
Letta Mbulu,
FM Einheit,
Gastr Del Sol,
Porter Ricks,
Boogie Down Productions,
Flash Fearless,
Jeff Mills,
Stiv Bators,
Terrestrial Tones,
H. Thieme,
Scion,
John Lydon,
Cecil Taylor,
Traffic Nightmare,
The Peanut Butter Conspiracy,
The Pop Group,
Franke,
Scott Walker,
Alice Coltrane,
The Red Krayola,
The Divine Comedy,
New York Dolls,
The Cosmic Jokers,
The Searchers,
Make Up,
Alison Limerick,
The Cure,
X-Ray Spex,
Avey Tare,
Chris Corsano,
Public Image Ltd.,
Amon Düül II,
Bizarre Inc.,
Alton Ellis,
Con Funk Shun,
Skaos,
Wighnomy Brothers & Robag Wruhme,
Masters at Work,
Bronski Beat,
The Wake,
Piero Umiliani,
Motorama,
Ponytail,
Big Daddy Kane,
Bang on a Can All-Stars,
Jawbox,
Shoche,
Youth Brigade,
the Soft Cell,
MDC,
Ornette Coleman,
Pierre Henry,
Zapp,
Sly & The Family Stone,
Gichy Dan,
Jesper Dahlbäck,
Toni Rubio,
Pantytec,
The Cramps,
The Barracudas, The Barracudas, The Barracudas, The Barracudas.
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.