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 Germany and from Hong Kong.
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 1963 to 1974.
I'm losing my edge.
To all the kids in Sao Paulo and Spokane.
I'm losing my edge to the art-school Jakarta 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 Mistral practice in a loft in Amsterdam.
I was working on the mellotron 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 Peter & Gordon to the disco 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 The Kinks. All the underground hits.
All The Jesus and Mary Chain tracks. I heard you have a vinyl of every Alice Coltrane 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 '70s cut and another box set from the '90s.
I hear you're buying a harpsichord and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a David Bowie record.
I hear that you and your band have sold your mellotron and bought a theremin.
I hear that you and your band have sold your theremin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Zapp,
Sound Behaviour,
Oblivians,
Guru Guru,
Ultimate Spinach,
Sarah Menescal,
The Dirtbombs,
Derrick Morgan,
Andrew Ashong & Theo Parrish,
Sun Ra Arkestra,
A Certain Ratio,
The Shadows of Knight,
Mandrill,
Gregory Isaacs,
Minutemen,
Adolescents,
Roxette,
ABC,
the Fania All-Stars,
Bad Manners,
Eurythmics,
Oppenheimer Analysis,
Desert Stars,
Main Source,
Amazonics,
Gastr Del Sol,
New Age Steppers,
Notorious BIG live in Amsterdam,
Basic Channel,
Grandmaster Flash and the Furious Five,
The Remains,
Hoover,
Gang Green,
CMW,
Howard Jones,
X-Ray Spex,
UT,
The Raincoats,
Johnny Osbourne,
Barrington Levy,
Archie Shepp,
Faraquet,
The Wake,
48th St. Collective,
Boogie Down Productions,
Tubeway Army,
Eric B and Rakim,
the Bar-Kays,
Wally Richardson,
The Searchers,
Magazine,
The Pop Group,
Electric Prunes,
Boredoms,
Jacques Brel,
Essential Logic,
Graham Central Station,
Von Mondo,
Silicon Teens,
Black Pus,
The Cramps,
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.