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 Liberia and from Stockholm.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Manchester and Lagos.
I'm losing my edge to the art-school Glasgow 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 arpeggiator sounds with much patience.
I was there when Holger Czukay 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 Blancmange to the crunk 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 Johnny Osbourne. All the underground hits.
All Brass Construction tracks. I heard you have a vinyl of every Mo-Dettes 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 '80s cut and another box set from the '70s.
I hear you're buying a güiro and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a U.S. Maple record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
10cc,
The Mojo Men,
Crash Course in Science,
Scott Walker + Sunn O))),
Althea and Donna,
Jacques Brel,
Easy Going,
The Modern Lovers,
Kool Moe Dee,
Groovy Waters,
the Slits,
Can,
Gong,
the Normal,
Mary Jane Girls,
Cameo,
Rufus Thomas,
Barry Ungar,
Alphaville,
Alice Coltrane,
Röyhkä ja Rättö ja Lehtisalo,
Jerry Gold Smith,
Ossler,
Eric Dolphy,
Vladislav Delay,
Pantaleimon,
Major Organ And The Adding Machine,
Royal Trux,
Chris Corsano,
The Slackers,
Niagra,
Connie Case,
Wally Richardson,
Delta 5,
Swans,
T.S.O.L.,
The Index,
OOIOO,
The Alarm Clocks,
Depeche Mode,
Ornette Coleman,
Lakeside,
Essential Logic,
Rakim,
Jacob Miller,
Lungfish,
Von Mondo,
Faraquet,
The Dead C,
Nils Olav,
The Misunderstood,
The Raincoats,
Andrew Ashong & Theo Parrish,
Carl Craig,
Notorious BIG live in Amsterdam,
Art Ensemble Of Chicago,
Bang on a Can All-Stars,
The Flesh Eaters,
Procol Harum,
PIL,
Wolf Eyes,
Mark Hollis, Mark Hollis, Mark Hollis, Mark Hollis.
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.