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 Slovenia and from Halifax.
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 1965 to 1973.
I'm losing my edge.
To all the kids in Accra and Madrid.
I'm losing my edge to the art-school Spokane 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 arpeggiator 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 Be Bop Deluxe to the electroclash kids.
I played it at the Crocodile.
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 Q65. All the underground hits.
All Television tracks. I heard you have a vinyl of every Vainqueur record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a chamberlin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Barrington Levy record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Model 500,
Charles Mingus,
Ultra Naté,
The Skatalites,
Bobby Sherman,
Warren Ellis,
R.M.O.,
Grey Daturas,
Intrusion,
The Moleskins,
Pulsallama,
Stiv Bators,
Das Ding,
MDC,
Bang on a Can All-Stars,
Soft Machine,
Kool Moe Dee,
The Last Poets,
Chris & Cosey,
Ralphi Rosario,
Pharaoh Sanders and the Fire Engines,
Funkadelic,
Pole,
Henry Cow,
The Doobie Brothers,
The Angels of Light,
Joyce Sims,
Amon Düül,
Tomorrow,
Mad Mike,
OOIOO,
Cybotron,
the Human League,
DJ Style,
Stereo Dub,
Yazoo,
Khruangbin,
Derrick Morgan,
Black Sheep,
Guru Guru,
The Real Kids,
London Community Gospel Choir,
The New Christs,
Soft Cell,
Lizzy Mercier Descloux,
Slave,
Hoover,
Maleditus Sound,
Bootsy Collins,
Jandek,
T. Rex,
Con Funk Shun,
Alton Ellis,
Little Man,
The Count Five,
Metal Thangz,
Black Flag, Black Flag, Black Flag, Black Flag.
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.