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 Djibouti and from Accra.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Copenhagen and Philadelphia.
I'm losing my edge to the art-school Philadelphia 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the synthesizer 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 Selector Dub Narcotic to the rock kids.
I played it at the Spitz.
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 Bluetip. All the underground hits.
All The Chocolate Watch Band tracks. I heard you have a vinyl of every Con Funk Shun 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 '70s.
I hear you're buying a 808 and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a UT record.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lafayette Afro Rock Band,
Bobby Sherman,
Kurtis Blow,
Patti Smith,
Thee Headcoats,
Magma,
Janne Schatter,
Derrick May,
Richard Hell and the Voidoids,
Black Moon,
The Durutti Column,
Second Layer,
Marcia Griffiths,
Matthew Halsall,
Moebius,
X-101,
Susan Cadogan,
Mandrill,
Rhythim Is Rhythim,
Bang On A Can,
U.S. Maple,
Wasted Youth,
Sister Nancy,
Deepchord,
Gerry Rafferty,
Aswad,
Leonard Cohen,
Jacques Brel,
Lucky Dragons,
The Royal Family And The Poor,
The Fugs,
Fear,
Aural Exciters,
Peter and Kerry,
Rotary Connection,
Crispian St. Peters,
The Sound,
Gang Green,
Ornette Coleman,
MC5,
Super Lover Cee & Casanova Rud,
Darondo,
Soul Sonic Force,
The Invisible,
Electric Light Orchestra,
The Red Krayola,
Lakeside,
Graham Central Station,
Laurel Aitken,
La Düsseldorf,
Lou Reed,
Cecil Taylor,
Blossom Toes,
Gian Franco Pienzio,
The Toasters,
a-ha,
Ituana,
Delta 5,
The Cure,
The Doobie Brothers,
Audionom,
the Bar-Kays,
Bob Dylan, Bob Dylan, Bob Dylan, Bob Dylan.
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.