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 Bahamas and from Manchester.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Madrid and Shanghai.
I'm losing my edge to the art-school Salvador 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 clarinet 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 Massinfluence to the dance kids.
I played it at the Hacienda.
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 Gang Gang Dance. All the underground hits.
All Harpers Bizarre tracks. I heard you have a vinyl of every Captain Beefheart & His Magic Band record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a marimba and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a John Coltrane 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?
Lou Reed & John Cale,
Warsaw,
The Slits,
Youth Brigade,
Gang of Four,
Silicon Teens,
Justin Hinds & The Dominoes,
The Sisters of Mercy,
the Germs,
Godley & Creme,
the Sonics,
Sexual Harrassment,
Liliput,
Crash Course in Science,
Colin Newman,
James White and The Blacks,
Radiohead,
Oneida,
Todd Terry,
Bill Near,
Joyce Sims,
Black Bananas,
Aural Exciters,
The West Coast Pop Art Experimental Band,
Warren Ellis,
Half Japanese,
Theoretical Girls,
Derrick May,
Erasure,
Albert Ayler,
The Cowsills,
The Dave Clark Five,
the Bar-Kays,
Wighnomy Brothers & Robag Wruhme,
Khruangbin,
Index,
Fugazi,
Grandmaster Flash and the Furious Five,
Intrusion,
The Move,
Animal Collective,
Drexciya,
Be Bop Deluxe,
Outsiders,
Lonnie Liston Smith,
De La Soul & Jungle Brothers,
48th St. Collective,
Sun Ra Arkestra,
The Fire Engines,
Soft Cell,
Bluetip,
Black Pus,
Nick Fraelich,
Buzzcocks,
Eyeless In Gaza,
The Electric Prunes,
Masters at Work,
Graham Central Station,
Minnie Riperton,
Kurtis Blow,
Stetsasonic,
Bizarre Inc.,
Roy Ayers,
Alton Ellis, Alton Ellis, Alton Ellis, Alton Ellis.
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.