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 St Kitts & Nevis and from Manchester.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Lyon and Madrid.
I'm losing my edge to the art-school Stockholm 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 spring reverb 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 Lower 48 to the jazz kids.
I played it at CBGB's.
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 Joey Negro. All the underground hits.
All Lower 48 tracks. I heard you have a vinyl of every Bang on a Can All-Stars 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 '70s.
I hear you're buying a mellotron and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Underground Resistance record.
I hear that you and your band have sold your rhodes and bought a marimba.
I hear that you and your band have sold your marimba and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Todd Terry,
The Doors,
Bizarre Inc.,
Jeru the Damaja,
Maleditus Sound,
Zapp,
Scott Walker,
Jesper Dahlback,
Fort Wilson Riot,
The United States of America,
Royal Trux,
Oppenheimer Analysis,
Ten City,
Stetsasonic,
Procol Harum,
London Community Gospel Choir,
Graham Central Station,
Barry Ungar,
The Wake,
Andrew Hill,
Babytalk,
Negative Approach,
Wolf Eyes,
Crispian St. Peters,
Nick Fraelich,
Infiniti,
Ash Ra Tempel,
Ralphi Rosario,
Kool G Rap & DJ Polo,
Newcleus,
Darondo,
Richard Hell and the Voidoids,
Moebius,
a-ha,
The Gun Club,
Davy DMX,
Yusef Lateef,
Black Sheep,
Arab on Radar,
Banda Bassotti,
Lightning Bolt,
The Electric Prunes,
Captain Beefheart & His Magic Band,
Theoretical Girls,
Thinking Fellers Union Local 282,
The Last Poets,
Brand Nubian,
Ossler,
Marshall Jefferson,
Major Organ And The Adding Machine,
The Fall,
Angels of Light & Akron/Family,
Kerri Chandler,
Scan 7,
Cybotron,
Dual Sessions,
Duran Duran,
Mandrill,
Alice Coltrane,
Glambeats Corp.,
Maurizio,
Intrusion,
James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions.
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.