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 Poland and from Paris.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1974.
I'm losing my edge.
To all the kids in Mumbai and Milan.
I'm losing my edge to the art-school Houston 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 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 Grauzone to the grunge kids.
I played it at the Troubador.
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 Pylon. All the underground hits.
All Black Flag tracks. I heard you have a vinyl of every Amon Düül II record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a linndrum and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Alice Coltrane record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Flesh Eaters,
Mad Mike,
Masters at Work,
Swell Maps,
The Sound,
Amon Düül II,
Symarip,
New York Dolls,
The Smoke,
The Mojo Men,
The Peanut Butter Conspiracy,
The Chocolate Watch Band,
Deakin,
Lafayette Afro Rock Band,
Public Image Ltd.,
Robert Wyatt,
Andrew Ashong & Theo Parrish,
Warren Ellis,
Index,
James White and The Blacks,
Aloha Tigers,
Japan,
Rosa Yemen,
Depeche Mode,
James Chance & The Contortions,
Ohio Players,
Avey Tare & Kría Brekkan,
Popol Vuh,
Unrelated Segments,
Arcadia,
Jacques Brel,
Minny Pops,
The Selecter,
B.T. Express,
Bobby Womack,
Henry Cow,
Howard Jones,
Ronan,
La Düsseldorf,
Alphaville,
Sex Pistols,
a-ha,
Parry Music,
Maurizio,
The Fugs,
Scion,
Dennis Brown,
Blancmange,
Terror Squad Feat. Camron,
Country Teasers,
Schoolly D,
Sparks,
The Angels of Light,
Lou Christie,
Ultimate Spinach,
Ultravox,
Flash Fearless,
Fad Gadget,
Anthony Braxton,
EPMD,
The Beau Brummels,
Nirvana,
Kenny Larkin,
Flamin' Groovies,
Sad Lovers and Giants, Sad Lovers and Giants, Sad Lovers and Giants, Sad Lovers and Giants.
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.