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 Seychelles and from Delhi.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Glasgow and Philadelphia.
I'm losing my edge to the art-school Seoul 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 1973 at the first Television practice in a loft in New York.
I was working on the spring reverb 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 X-102 to the punk kids.
I played it at Cafe Wha.
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 Leonard Cohen. All the underground hits.
All Ohio Players tracks. I heard you have a vinyl of every Organ 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 '50s cut and another box set from the '90s.
I hear you're buying a marimba and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Red Krayola record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Althea and Donna,
the Normal,
Brass Construction,
Underground Resistance,
Eric B and Rakim,
Red Lorry Yellow Lorry,
World's Most,
The Shadows of Knight,
10cc,
Desert Stars,
The Star Department,
Mr. Review,
Dead Boys,
Sugar Minott,
Gary Puckett & The Union Gap,
The Durutti Column,
Avey Tare & Kría Brekkan,
Roy Ayers Ubiquity,
Boogie Down Productions,
Gil Scott-Heron & Brian Jackson,
Quantec,
The Grass Roots,
Gastr Del Sol,
Ken Boothe,
Gichy Dan,
Flipper,
Marc Romboy vs. Booka Shade,
Maleditus Sound,
The Gap Band,
Iggy Pop,
The Chocolate Watch Band,
Blancmange,
Joensuu 1685,
The Mighty Diamonds,
Gregory Isaacs,
Mantronix,
Yellowson,
Easy Going,
The Smiths,
Kaleidoscope,
Joe Smooth,
Parry Music,
Dawn Penn,
Piero Umiliani,
The Sound,
Moby Grape,
Vainqueur,
Wolf Eyes,
Sun Ra,
Zapp,
Juan Atkins,
June Days,
Symarip,
Tres Demented,
The Martian,
Eli Mardock,
New York Dolls,
The Neon Judgement,
Dual Sessions,
Amon Düül,
Boz Scaggs,
Joey Negro, Joey Negro, Joey Negro, Joey Negro.
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.