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 Russia and from Jakarta.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Philadelphia and Tokyo.
I'm losing my edge to the art-school Houston 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 rhodes sounds with much patience.
I was there when Holger Czukay 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 Derrick May to the crunk 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 Tom Boy. All the underground hits.
All The Jesus and Mary Chain tracks. I heard you have a vinyl of every Skaos 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 '90s.
I hear you're buying a guitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Marc Almond record.
I hear that you and your band have sold your mellotron and bought an oboe.
I hear that you and your band have sold your oboe and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stetsasonic,
8 Eyed Spy,
Louis and Bebe Barron,
Kenny Larkin,
Newcleus,
Siglo XX,
Harry Pussy,
Graham Central Station,
Marcia Griffiths,
The New Christs,
Can,
The Doobie Brothers,
Intrusion,
Oppenheimer Analysis,
Magazine,
Ituana,
the Swans,
Marc Romboy vs. Booka Shade,
The Sisters of Mercy,
Girls At Our Best!,
Unrelated Segments,
The Modern Lovers,
Bill Near,
Fifty Foot Hose,
Sällskapet,
June Days,
Pere Ubu,
Anakelly,
Barrington Levy,
Kevin Saunderson,
Sonic Youth,
Tropical Tobacco,
The Cure,
Accadde A,
Brand Nubian,
Public Image Ltd.,
Masters at Work,
L. Decosne,
Niagra,
Porter Ricks,
Michelle Simonal,
Flamin' Groovies,
Aural Exciters,
The Zeros,
Rhythim Is Rhythim,
Reagan Youth,
The Sonics,
The Remains,
James White and The Blacks,
Alice Coltrane,
Deakin,
R.M.O.,
Warren Ellis,
The Searchers,
The Dirtbombs,
Slave,
Bobby Byrd,
Animal Collective,
Subhumans,
Eddi Front,
Pussy Galore,
Theoretical Girls,
Ken Boothe,
A Certain Ratio,
Althea and Donna, Althea and Donna, Althea and Donna, Althea and Donna.
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.