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 Malta and from Lyon.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1961 to 1976.
I'm losing my edge.
To all the kids in Jakarta and Winnipeg.
I'm losing my edge to the art-school Edmonton 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 Cluster to the electroclash kids.
I played it at the Astoria.
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 Remains. All the underground hits.
All Au Pairs tracks. I heard you have a vinyl of every The Martian record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a spring reverb and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Glambeats Corp. record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Peanut Butter Conspiracy,
The West Coast Pop Art Experimental Band,
CMW,
The Gun Club,
Avey Tare's Slasher Flicks,
Aloha Tigers,
Howard Jones,
Rapeman,
Pharoah Sanders,
Lee Hazlewood,
The Moleskins,
Marcia Griffiths,
This Heat,
Whodini,
Joey Negro,
Saccharine Trust,
Throbbing Gristle,
Mo-Dettes,
Mission of Burma,
Blake Baxter,
The Men They Couldn't Hang,
Liliput,
Godley & Creme,
Masters at Work,
Anthony Braxton,
Morten Harket,
The J.B.'s,
Delta 5,
FM Einheit,
Motorama,
Althea and Donna,
Yusef Lateef,
Pierre Henry,
The Cure,
The Blackbyrds,
Leonard Cohen,
Glambeats Corp.,
Rowland S Howard / Lydia Lunch,
The Last Poets,
Joensuu 1685,
Darondo,
Funky Four + One,
The Kinks,
John Cale,
Gil Scott-Heron & Brian Jackson,
Tubeway Army,
Minutemen,
Funkadelic,
These Immortal Souls,
Terror Squad Feat. Camron,
Monks,
Jerry's Kids,
Ultimate Spinach,
Symarip,
Half Japanese,
N.O.R.E. Featuring Pharrell,
Gang Starr,
Jesper Dahlback,
The Electric Prunes,
The Neon Judgement,
Q and Not U,
The Victims,
Sugar Minott,
Lebanon Hanover,
Sam Rivers, Sam Rivers, Sam Rivers, Sam Rivers.
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.