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 Georgia and from Paris.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1979.
I'm losing my edge.
To all the kids in Paris and Accra.
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 Soft Boys practice in a loft in Cambridge.
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 The Blackbyrds to the disco kids.
I played it at the 40 Watt.
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 Avey Tare & Kría Brekkan. All the underground hits.
All Morten Harket tracks. I heard you have a vinyl of every Adolescents record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a theremin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a James White and The Blacks record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Magma,
Eddi Front,
Monolake,
World's Most,
Morten Harket,
Dual Sessions,
Johnny Osbourne,
Super Lover Cee & Casanova Rud,
Bang on a Can All-Stars,
Parry Music,
Marshall Jefferson,
The Fire Engines,
The Mojo Men,
Fifty Foot Hose,
Danielle Patucci,
Bizarre Inc.,
Grandmaster Flash,
Althea and Donna,
Wasted Youth,
Gian Franco Pienzio,
The Angels of Light,
Kayak,
Rod Modell,
The Fall,
Theoretical Girls,
The Young Rascals,
Gang of Four,
Soul II Soul,
Von Mondo,
Connie Case,
Electric Light Orchestra,
The Mummies,
the Human League,
Masters at Work,
Model 500,
Tim Buckley,
Organ,
The Detroit Cobras,
London Community Gospel Choir,
Soul Sonic Force,
Nick Fraelich,
the Sonics,
Gong,
Maurizio,
Amon Düül,
The Smiths,
Bobby Sherman,
John Cale,
Ronan,
Rites of Spring,
Kurtis Blow,
Groovy Waters,
Animal Collective,
Radiopuhelimet,
Bootsy's Rubber Band,
The Neon Judgement,
UT,
Wighnomy Brothers & Robag Wruhme,
Cecil Taylor,
Oppenheimer Analysis,
Country Joe & The Fish,
Camberwell Now, Camberwell Now, Camberwell Now, Camberwell Now.
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.