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 Austria and from Lyon.
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 1965 to 1978.
I'm losing my edge.
To all the kids in Calgary 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the rhodes 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 Clear Light to the grunge kids.
I played it at the Troubador.
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 Section 25. All the underground hits.
All Model 500 tracks. I heard you have a vinyl of every Bang on a Can All-Stars record on German import.
I heard that you have a white label of every seminal grime 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 linndrum and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Black Flag 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?
Nirvana,
48th St. Collective,
Ornette Coleman,
Big Daddy Kane,
Surgeon,
Al Stewart,
Kenny Larkin,
Infiniti,
K-Klass,
Kool G Rap & DJ Polo,
Oppenheimer Analysis,
Letta Mbulu,
Lalo Schifrin,
Michelle Simonal,
Bootsy's Rubber Band,
The Moody Blues,
Eve St. Jones,
The Motions,
The Evens,
Red Lorry Yellow Lorry,
Deadbeat,
Rhythm & Sound,
Barrington Levy,
Slave,
Avey Tare & Kría Brekkan,
Junior Murvin,
Gil Scott-Heron & Brian Jackson,
Circle Jerks,
The Victims,
Minny Pops,
Erasure,
Laurel Aitken,
Lower 48,
Maleditus Sound,
Jacob Miller,
a-ha,
Grey Daturas,
Lonnie Liston Smith,
Funkadelic,
Unrelated Segments,
Oneida,
The Happenings,
The Shadows of Knight,
Kaleidoscope,
Rapeman,
Parry Music,
Thompson Twins,
Stiv Bators,
Heaven 17,
David McCallum,
Frankie Knuckles,
Dorothy Ashby,
MDC,
Section 25,
The Slits,
Janne Schatter,
Absolute Body Control,
Saccharine Trust,
Wolf Eyes,
John Holt,
Lou Reed & John Cale,
Country Teasers,
Johnny Osbourne,
The Peanut Butter Conspiracy,
Ossler, Ossler, Ossler, Ossler.
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.