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 Sri Lanka and from Glasgow.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Delhi and Tokyo.
I'm losing my edge to the art-school Winnipeg 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 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 Country Joe & The Fish to the rock kids.
I played it at the Roxy.
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 Wire. All the underground hits.
All Magazine tracks. I heard you have a vinyl of every Sun Ra Arkestra record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a theremin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Bobby Sherman record.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
James Chance & The Contortions,
Al Stewart,
Dorothy Ashby,
ABC,
Marine Girls,
Severed Heads,
Sparks,
Bootsy Collins,
Art Ensemble Of Chicago,
Jawbox,
Lungfish,
Jimmy McGriff,
Vaughan Mason & Crew,
Arthur Verocai,
Roxette,
Selector Dub Narcotic,
Minor Threat,
T.S.O.L.,
Arab on Radar,
Nico,
Fugazi,
Gil Scott Heron,
Girls At Our Best!,
Gil Scott-Heron and Jamie xx,
The Dirtbombs,
Eric Dolphy,
Scott Walker,
Audionom,
Chrome,
The Sound,
Pere Ubu,
Accadde A,
Ituana,
Magazine,
Minnie Riperton,
John Coltrane,
The Move,
Yazoo,
Pagans,
Nick Fraelich,
kango's stein massive,
Aaron Thompson,
The Jesus and Mary Chain,
Bad Manners,
Porter Ricks,
The Golliwogs,
Connie Case,
Icehouse,
The Mojo Men,
Pete Rock & C.L. Smooth,
Animal Collective,
Altered Images,
Rowland S Howard / Lydia Lunch,
The Pop Group,
Fatback Band,
The Gap Band,
The Misunderstood,
Brand Nubian,
Joey Negro,
Bob Dylan,
Mary Jane Girls,
Oblivians,
The Remains,
U.S. Maple, U.S. Maple, U.S. Maple, U.S. Maple.
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.