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 Moldova and from Cairo.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1970.
I'm losing my edge.
To all the kids in Glasgow and Manchester.
I'm losing my edge to the art-school Johannesburg 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 Erykah Badu to the funk kids.
I played it at the Spitz.
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 Von Mondo. All the underground hits.
All Silicon Teens tracks. I heard you have a vinyl of every Moby Grape 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 '60s cut and another box set from the '80s.
I hear you're buying a clarinet and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Dorothy Ashby record.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Invisible,
Derrick Morgan,
Pet Shop Boys,
Slick Rick,
Ultra Naté,
Tears for Fears,
The Fire Engines,
Justin Hinds & The Dominoes,
Bill Wells,
Slave,
The Selecter,
The Star Department,
The Searchers,
Moss Icon,
Au Pairs,
The Flesh Eaters,
Iggy Pop,
Ultimate Spinach,
The Fortunes,
New York Dolls,
Half Japanese,
Cluster,
Bob Dylan,
Tropical Tobacco,
Gang Green,
Section 25,
Bluetip,
Oppenheimer Analysis,
Eurythmics,
Scientists,
Pantytec,
Peter & Gordon,
Monks,
The Blues Magoos,
Little Man,
June Days,
Skriet,
La Düsseldorf,
Pere Ubu,
Fort Wilson Riot,
Popol Vuh,
Maleditus Sound,
EPMD,
Ken Boothe,
Camouflage,
Godley & Creme,
Sugar Minott,
Vainqueur,
Leonard Cohen,
Warren Ellis,
Gary Puckett & The Union Gap,
Albert Ayler,
Lou Christie,
David Bowie,
Kaleidoscope,
Grey Daturas,
Minny Pops,
A Certain Ratio,
Derrick May,
Suburban Knight,
Scion,
In Retrospect, In Retrospect, In Retrospect, In Retrospect.
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.