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 Serbia and from Copenhagen.
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 1978.
I'm losing my edge.
To all the kids in Bologna and Philadelphia.
I'm losing my edge to the art-school Mumbai 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 snare sounds with much patience.
I was there when Tom Verlaine 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 Anthony Braxton to the dance 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 Absolute Body Control. All the underground hits.
All David McCallum tracks. I heard you have a vinyl of every H. Thieme 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 '80s cut and another box set from the '80s.
I hear you're buying a harpsichord and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Strawberry Alarm Clock record.
I hear that you and your band have sold your theremin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Max Romeo,
Gregory Isaacs,
Section 25,
Glambeats Corp.,
Manfred Mann's Earth Band,
James Chance & The Contortions,
Liliput,
Wally Richardson,
Johnny Osbourne,
Stereo Dub,
The Doors,
Severed Heads,
The Barracudas,
Cabaret Voltaire,
Cymande,
Strawberry Alarm Clock,
Brass Construction,
The Music Machine,
Sunsets and Hearts,
Sound Behaviour,
The Dead C,
Louis and Bebe Barron,
The Zeros,
Crispy Ambulance,
Grandmaster Flash,
Vladislav Delay,
Scan 7,
Wighnomy Brothers & Robag Wruhme,
Matthew Bourne,
Sixth Finger,
Davy DMX,
X-Ray Spex,
Average White Band,
Radiopuhelimet,
Funkadelic,
Junior Murvin,
Flash Fearless,
Orchestral Manoeuvres in the Dark,
Magma,
Boogie Down Productions,
the Soft Cell,
Royal Trux,
Sticky Fingaz feat. Raekwon,
The Gladiators,
Bill Wells,
Y Pants,
The Vogues,
The Neon Judgement,
The Blues Magoos,
Nick Fraelich,
Carl Craig,
Dual Sessions,
Ituana,
Gong,
Sparks,
Joe Smooth,
a-ha,
Hoover,
Smog,
Neil Young & Crazy Horse,
Pharaoh Sanders and the Fire Engines,
Marine Girls, Marine Girls, Marine Girls, Marine Girls.
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.