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 New York.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Accra and Bremen.
I'm losing my edge to the art-school Shanghai 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 synthesizer 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 The Shadows of Knight to the funk 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 the Fania All-Stars. All the underground hits.
All The Gories tracks. I heard you have a vinyl of every The Cosmic Jokers record on German import.
I heard that you have a white label of every seminal punk 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 an oboe and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Electric Light Orchestra record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Los Fastidios,
Alison Limerick,
David Axelrod,
Deutsch Amerikanische Freundschaft,
Danielle Patucci,
Masters at Work,
Silicon Teens,
Jawbox,
AZ,
Whodini,
Blancmange,
Desert Stars,
The Fugs,
Gang Starr,
Major Organ And The Adding Machine,
The Motions,
Junior Murvin,
Gabor Szabo,
Judy Mowatt,
Faust,
Michelle Simonal,
The West Coast Pop Art Experimental Band,
Tomorrow,
Gang Gang Dance,
Larry & the Blue Notes,
Mr. Review,
Motorama,
Steve Hackett,
X-102,
Bootsy Collins,
The Evens,
Sexual Harrassment,
The Doors,
Boredoms,
Terrestrial Tones,
Scion,
Anthony Braxton,
Tim Buckley,
Soft Machine,
Idris Muhammad,
Andrew Hill,
Angry Samoans,
Crispy Ambulance,
Rufus Thomas,
Lalann,
The Barracudas,
Duran Duran,
Pierre Henry,
Selector Dub Narcotic,
Faraquet,
Ice-T,
Dual Sessions,
Soul Sonic Force,
Dead Boys,
The Leaves,
EPMD,
Bobby Hutcherson,
Icehouse,
Gerry Rafferty,
The Vogues,
The Neon Judgement,
Dorothy Ashby, Dorothy Ashby, Dorothy Ashby, Dorothy Ashby.
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.