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 Niger and from Portland.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Manila and Taipei.
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 1973 at the first Television practice in a loft in New York.
I was working on the harpsichord sounds with much patience.
I was there when David Bowie 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 Jeru the Damaja to the dance kids.
I played it at Trash.
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 Skaos. All the underground hits.
All the Swans tracks. I heard you have a vinyl of every The West Coast Pop Art Experimental Band record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a 808 and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a X-Ray Spex record.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ralphi Rosario,
Cymande,
Rhythm & Sound,
Marc Almond,
The Motions,
Surgeon,
Bootsy Collins,
The Happenings,
Ludus,
Kerrie Biddell,
Electric Prunes,
Jacob Miller,
Matthew Bourne,
Groovy Waters,
The Human League,
Bush Tetras,
John Foxx,
ABC,
Lyres,
Lightning Bolt,
June of 44,
Parry Music,
Todd Rundgren,
Subhumans,
Andrew Ashong & Theo Parrish,
Au Pairs,
Tim Buckley,
Deakin,
Minutemen,
The Seeds,
The Evens,
Eden Ahbez,
Outsiders,
Adolescents,
The J.B.'s,
Barrington Levy,
Danielle Patucci,
Connie Case,
Black Moon,
Justin Hinds & The Dominoes,
The Slits,
The Monochrome Set,
Fela Kuti,
Buzzcocks,
Skaos,
The Fortunes,
Yusef Lateef,
MC5,
Joe Smooth,
Ohio Players,
The Flesh Eaters,
Absolute Body Control,
Scion,
Grandmaster Flash and the Furious Five,
Bronski Beat,
Lonnie Liston Smith,
The Doors,
Swell Maps,
Godley & Creme,
Sarah Menescal,
Sonny Sharrock,
Carl Craig,
The Invisible, The Invisible, The Invisible, The Invisible.
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.