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 Romania and from Madrid.
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 1968 to 1973.
I'm losing my edge.
To all the kids in London and Tokyo.
I'm losing my edge to the art-school Beijing 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 güiro sounds with much patience.
I was there when David Bowie 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 Symarip to the jazz 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 Jeff Lynne. All the underground hits.
All Nas tracks. I heard you have a vinyl of every Model 500 record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a chamberlin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Crime record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Faraquet,
Scan 7,
The Pop Group,
Dawn Penn,
Nirvana,
Mo-Dettes,
Flamin' Groovies,
Public Enemy,
Circle Jerks,
R.M.O.,
Barclay James Harvest,
Ken Boothe,
B.T. Express,
Q and Not U,
Major Organ And The Adding Machine,
Rhythim Is Rhythim,
Swans,
Kango’s Stein Massive,
Stetsasonic,
DeepChord presents Echospace,
Gang Starr,
Ultra Naté,
Delon & Dalcan,
The Gap Band,
The Birthday Party,
Ash Ra Tempel,
Cecil Taylor,
Altered Images,
E-Dancer,
Wolf Eyes,
Marshall Jefferson,
The Zeros,
Wasted Youth,
Roy Ayers,
Gian Franco Pienzio,
Andrew Hill,
Rotary Connection,
Warren Ellis,
Fort Wilson Riot,
Lower 48,
Pharaoh Sanders and the Fire Engines,
Joy Division,
Prince Buster,
Pole,
Television,
Crime,
Fear,
Crispy Ambulance,
Richard Hell and the Voidoids,
Yusef Lateef,
The Skatalites,
Icehouse,
La Düsseldorf,
Ohio Players,
Mantronix,
Hardrive,
Shuggie Otis,
Theoretical Girls,
Jeff Mills,
The Modern Lovers,
Suburban Knight,
Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark.
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.