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 Rwanda and from Edmonton.
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 1965 to 1975.
I'm losing my edge.
To all the kids in Tehran and Columbus.
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 1983 at the first Art of Noise practice in a loft in London.
I was working on the sitar 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 Neil Young to the grunge kids.
I played it at CBGB's.
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 X-102. All the underground hits.
All Delta 5 tracks. I heard you have a vinyl of every Blossom Toes record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a linndrum and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Young Marble Giants record.
I hear that you and your band have sold your snare and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tommy Roe,
The Cosmic Jokers,
Major Organ And The Adding Machine,
The Fire Engines,
The Leaves,
L. Decosne,
Roger Hodgson,
Althea and Donna,
Radiopuhelimet,
48th St. Collective,
The Gun Club,
The Mojo Men,
Brothers Johnson,
Gil Scott Heron,
The Sound,
Cluster,
Byron Stingily,
Ultra Naté,
Oppenheimer Analysis,
Mark Hollis,
Hashim,
Infiniti,
The Mummies,
Slick Rick,
Avey Tare's Slasher Flicks,
T. Rex,
Dorothy Ashby,
Crooked Eye,
The Fortunes,
Hot Snakes,
Rosa Yemen,
Banda Bassotti,
Adolescents,
Grey Daturas,
Parry Music,
Ultramagnetic MC's,
Can,
Throbbing Gristle,
Judy Mowatt,
Animal Collective,
Robert Hood,
Nik Kershaw,
The Toasters,
Gil Scott-Heron & Brian Jackson,
T.S.O.L.,
The Names,
Danielle Patucci,
Masters at Work,
Ash Ra Tempel,
The Busters,
Sugar Minott,
Albert Ayler,
DJ Style,
DNA,
Easy Going,
Barrington Levy,
Minnie Riperton,
Traffic Nightmare,
Andrew Hill,
Rowland S Howard / Lydia Lunch,
Howard Jones,
The Pretty Things,
Quantec,
10cc,
The Doors, The Doors, The Doors, The Doors.
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.