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 Russia and from Salvador.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1962 to 1970.
I'm losing my edge.
To all the kids in Bremen and Beijing.
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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the 808 sounds with much patience.
I was there when Michael McDonald 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 Bang on a Can All-Stars to the techno kids.
I played it at the Roxy.
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 Ronnie Foster. All the underground hits.
All Robert Hood tracks. I heard you have a vinyl of every Marc Almond record on German import.
I heard that you have a white label of every seminal electroclash 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 a mellotron and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Main Source record.
I hear that you and your band have sold your guitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mr. Review,
Gabor Szabo,
Pulsallama,
Kerrie Biddell,
Magazine,
The Pop Group,
Gang Gang Dance,
The Monks,
Don Cherry,
Roy Ayers Ubiquity,
Lower 48,
Deutsch Amerikanische Freundschaft,
Dave Gahan,
The Real Kids,
Little Man,
Swans,
Ten City,
Kauko Röyhkä ja Narttu,
Roxy Music,
The Remains,
Robert Görl,
Wolf Eyes,
Dawn Penn,
The Mighty Diamonds,
Intrusion,
DeepChord presents Echospace,
8 Eyed Spy,
Rhythm & Sound,
Pharoah Sanders,
Quadrant,
Marcia Griffiths,
Derrick Morgan,
Fugazi,
Dennis Brown,
Manfred Mann's Earth Band,
Scrapy,
Bang On A Can,
10cc,
Donald Byrd,
Marine Girls,
Rod Modell,
Infiniti,
Sällskapet,
Japan,
Sun Ra,
Hot Snakes,
E-Dancer,
Boogie Down Productions,
Minny Pops,
Yaz,
Babytalk,
Letta Mbulu,
In Retrospect,
X-102,
Yellowson,
Pere Ubu,
Thee Headcoats,
Unrelated Segments,
Kango’s Stein Massive,
Mandrill,
Jeff Mills,
Minutemen, Minutemen, Minutemen, Minutemen.
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.