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 Slovakia and from Houston.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Edmonton and Tokyo.
I'm losing my edge to the art-school Sao Paulo 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 Donald Fagen 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 Quando Quango to the punk 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 Bush Tetras. All the underground hits.
All Vaughan Mason & Crew tracks. I heard you have a vinyl of every Swell Maps 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 '50s cut and another box set from the '70s.
I hear you're buying a harpsichord and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Gun Club record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Donald Byrd,
Art Ensemble Of Chicago,
Eden Ahbez,
Eric Dolphy,
Eli Mardock,
Newcleus,
Freddie Wadling,
Von Mondo,
Avey Tare,
Marmalade,
Neil Young & Crazy Horse,
Mo-Dettes,
Thinking Fellers Union Local 282,
Rufus Thomas,
Hardrive,
China Crisis,
Flamin' Groovies,
The Tremeloes,
The Count Five,
Lou Christie,
Flash Fearless,
The Cramps,
Livin' Joy,
Deutsch Amerikanische Freundschaft,
Kurtis Blow,
Joey Negro,
Scott Walker,
The Stooges,
The Sonics,
The Index,
Marshall Jefferson,
Fugazi,
Country Teasers,
Can,
Andrew Ashong & Theo Parrish,
Magma,
Kerri Chandler,
David Axelrod,
Gary Puckett & The Union Gap,
Chrome,
Tubeway Army,
Spandau Ballet,
Oblivians,
June Days,
The Move,
Young Marble Giants,
Altered Images,
Reuben Wilson,
Bluetip,
Roy Ayers Ubiquity,
Boogie Down Productions,
The Durutti Column,
Goldenarms,
The Knickerbockers,
The New Christs,
Underground Resistance,
Gong,
Joy Division,
Johnny Osbourne, Johnny Osbourne, Johnny Osbourne, Johnny Osbourne.
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.