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 Chile and from Jakarta.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1967 to 1977.
I'm losing my edge.
To all the kids in Salvador and Copenhagen.
I'm losing my edge to the art-school Shanghai 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 harpsichord sounds with much patience.
I was there when Nile Rodgers 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 Sunsets and Hearts to the techno 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 Fatback Band. All the underground hits.
All New Age Steppers tracks. I heard you have a vinyl of every Lakeside record on German import.
I heard that you have a white label of every seminal dance 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 sitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Busters record.
I hear that you and your band have sold your linndrum and bought an oboe.
I hear that you and your band have sold your oboe and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Cramps,
Aaron Thompson,
Deakin,
The Tremeloes,
Half Japanese,
Dorothy Ashby,
Ajijia Myrayebe,
Hasil Adkins,
Trumans Water,
Don Cherry,
Arcadia,
Scrapy,
Matthew Halsall,
Tropical Tobacco,
The Motions,
Spandau Ballet,
Johnny Osbourne,
The Misunderstood,
Kerrie Biddell,
Alton Ellis,
Roy Ayers,
The Slackers,
Alphaville,
Franke,
Lebanon Hanover,
Warren Ellis,
Sly & The Family Stone,
Drexciya,
Rowland S Howard / Lydia Lunch,
Dark Day,
the Bar-Kays,
Bobby Hutcherson,
Procol Harum,
Chrome,
The Count Five,
Selector Dub Narcotic,
Flamin' Groovies,
Bobby Sherman,
John Cale,
The Moleskins,
The Electric Prunes,
Sister Nancy,
Kango’s Stein Massive,
Chris & Cosey,
Lindisfarne,
Tim Buckley,
the Fania All-Stars,
Barbara Tucker,
Dave Gahan,
Ronan,
Boz Scaggs,
Warsaw,
L. Decosne,
Avey Tare & Kría Brekkan,
Crime,
The Gun Club,
Television Personalities,
The Five Americans,
Nation of Ulysses,
The Pop Group,
Gil Scott Heron,
The Standells,
Avey Tare's Slasher Flicks, Avey Tare's Slasher Flicks, Avey Tare's Slasher Flicks, Avey Tare's Slasher Flicks.
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.