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 Latvia 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 1967 to 1971.
I'm losing my edge.
To all the kids in Madrid and Glasgow.
I'm losing my edge to the art-school Bologna 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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the clarinet 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 Joey Negro to the techno kids.
I played it at Cafe Wha.
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 Spandau Ballet. All the underground hits.
All Leonard Cohen tracks. I heard you have a vinyl of every Lou Reed & John Cale 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 '70s cut and another box set from the '90s.
I hear you're buying a guitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Detroit Cobras record.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Toni Rubio,
Glenn Branca,
Jerry Gold Smith,
Ten City,
Symarip,
Brand Nubian,
Bobby Sherman,
Swans,
The Fortunes,
Ornette Coleman,
The Names,
London Community Gospel Choir,
Surgeon,
Sight & Sound,
Avey Tare & Kría Brekkan,
Oblivians,
David Axelrod,
Albert Ayler,
Peter & Gordon,
Magma,
DJ Style,
Tres Demented,
The Divine Comedy,
Flash Fearless,
The Neon Judgement,
The Pop Group,
Main Source,
Dawn Penn,
Bobby Hutcherson,
Bootsy's Rubber Band,
Tubeway Army,
Procol Harum,
John Foxx,
the Bar-Kays,
The Techniques,
Andrew Ashong & Theo Parrish,
Orchestral Manoeuvres in the Dark,
Sonic Youth,
Massinfluence,
Byron Stingily,
Eric Copeland,
Tommy Roe,
The Velvet Underground,
Neil Young & Crazy Horse,
The Misunderstood,
The Remains,
X-101,
Jesper Dahlbäck,
Urselle,
The Gun Club,
Bang on a Can All-Stars,
The Music Machine,
MC5,
Cameo,
Franke,
cv313,
Quantec,
Steve Hackett,
Rowland S Howard / Lydia Lunch,
Aloha Tigers,
Zero Boys,
Rekid,
MDC,
Gil Scott Heron, Gil Scott Heron, Gil Scott Heron, Gil Scott Heron.
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.