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 Tuvalu and from Tokyo.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1973.
I'm losing my edge.
To all the kids in Winnipeg and Spokane.
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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the chamberlin sounds with much patience.
I was there when Lou Reed 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 The Standells to the grime kids.
I played it at Trash.
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 Jerry Gold Smith. All the underground hits.
All London Community Gospel Choir tracks. I heard you have a vinyl of every Howard Jones record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying an organ and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Captain Beefheart & His Magic Band record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin 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?
Visage,
Monolake,
New Age Steppers,
Frankie Knuckles,
Man Eating Sloth,
Hasil Adkins,
Delta 5,
DeepChord presents Echospace,
The Neon Judgement,
Barrington Levy,
Susan Cadogan,
Robert Hood,
Warren Ellis,
The Cure,
Fugazi,
Don Cherry,
Ultimate Spinach,
Sun City Girls,
Colin Newman,
Crime,
Cameo,
Dave Gahan,
A Certain Ratio,
Hardrive,
Zero Boys,
Essential Logic,
Roy Ayers,
Be Bop Deluxe,
Slave,
Crispy Ambulance,
The Move,
Schoolly D,
Soft Machine,
Joyce Sims,
Liliput,
Heavy D & The Boyz,
Barbara Tucker,
Gang Starr,
Absolute Body Control,
Althea and Donna,
The Stooges,
the Soft Cell,
The Monks,
The Angels of Light,
Major Organ And The Adding Machine,
Reuben Wilson,
Public Image Ltd.,
Scratch Acid,
Kool Moe Dee,
The Misunderstood,
Albert Ayler,
Nas,
Oppenheimer Analysis,
Blake Baxter,
The Doors,
Panda Bear,
The Electric Prunes,
Qualms,
Boogie Down Productions,
Lightning Bolt, Lightning Bolt, Lightning Bolt, Lightning Bolt.
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.