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 Nicaragua and from Salvador.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Mexico City and Bremen.
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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the marimba 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 Sarah Menescal to the electroclash kids.
I played it at the 40 Watt.
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 Deakin. All the underground hits.
All Ultravox tracks. I heard you have a vinyl of every Pussy Galore record on German import.
I heard that you have a white label of every seminal grunge 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 chamberlin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Donald Byrd record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer 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?
Eden Ahbez,
Eve St. Jones,
Pantaleimon,
Tropical Tobacco,
The Flesh Eaters,
Lightning Bolt,
Lizzy Mercier Descloux,
Jacques Brel,
Kool Moe Dee,
Marcia Griffiths,
The Move,
Smog,
Be Bop Deluxe,
Circle Jerks,
The Alarm Clocks,
Dawn Penn,
Half Japanese,
Fat Boys,
Cabaret Voltaire,
Alton Ellis,
Inner City,
Wings,
Michelle Simonal,
Young Marble Giants,
Crooked Eye,
Interpol,
Lou Reed & John Cale,
PIL,
Kas Product,
Black Sheep,
Icehouse,
Bronski Beat,
Massinfluence,
Gerry Rafferty,
ABC,
John Coltrane,
John Lydon,
UT,
Amon Düül,
Gang Starr,
Guru Guru,
Bizarre Inc.,
the Normal,
One Last Wish,
The Skatalites,
Susan Cadogan,
Charles Mingus,
Outsiders,
Lou Reed & Metallica,
Animal Collective,
Johnny Osbourne,
Joyce Sims,
Fort Wilson Riot,
Angels of Light & Akron/Family,
Al Stewart,
Visage,
Man Parrish,
Black Moon,
World's Most, World's Most, World's Most, World's Most.
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.