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 Lesotho and from Houston.
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 1962 to 1978.
I'm losing my edge.
To all the kids in Manchester and Johannesburg.
I'm losing my edge to the art-school Manchester 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the guitar 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 Malaria! to the funk kids.
I played it at Cafe Wha.
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 Essential Logic. All the underground hits.
All Slick Rick tracks. I heard you have a vinyl of every Terror Squad Feat. Camron record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a clarinet and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Selecter record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nick Fraelich,
Barclay James Harvest,
the Swans,
Brass Construction,
Stockholm Monsters,
The Monochrome Set,
Marmalade,
Faust,
The Wake,
Q and Not U,
Peter & Gordon,
Gastr Del Sol,
Metal Thangz,
Joyce Sims,
Gil Scott Heron,
Ludus,
Faraquet,
Notorious BIG live in Amsterdam,
Cheater Slicks,
Rotary Connection,
Lucky Dragons,
Camberwell Now,
Avey Tare & Kría Brekkan,
Bang on a Can All-Stars,
Pharaoh Sanders and the Fire Engines,
Black Sheep,
Sonny Sharrock,
Gary Puckett & The Union Gap,
The Cosmic Jokers,
Swans,
The Blues Magoos,
Public Enemy,
James Chance & The Contortions,
Arthur Verocai,
Notorious Big And Bone Thugs,
A Flock of Seagulls,
Fluxion,
Drive Like Jehu,
Wings,
Urselle,
Bootsy's Rubber Band,
Minnie Riperton,
Susan Cadogan,
Matthew Bourne,
Brand Nubian,
Deutsch Amerikanische Freundschaft,
Pete Rock & C.L. Smooth,
June of 44,
Young Marble Giants,
The Skatalites,
Japan,
Sarah Menescal,
Roxette,
Second Layer,
F. McDonald,
Mandrill,
Davy DMX,
Los Fastidios,
The Zeros,
The Modern Lovers,
JFA, JFA, JFA, JFA.
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.