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 Tajikistan and from Shanghai.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Salvador and Shanghai.
I'm losing my edge to the art-school Delhi 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 synthesizer sounds with much patience.
I was there when Robert Palmer 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 Andrew Hill to the grime 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 The Shadows of Knight. All the underground hits.
All Lou Reed & John Cale tracks. I heard you have a vinyl of every Ossler record on German import.
I heard that you have a white label of every seminal grime 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 spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Minor Threat record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Music Machine,
Parry Music,
Accadde A,
Magma,
Kango’s Stein Massive,
Infiniti,
Chris Corsano,
Vladislav Delay,
Slick Rick,
Roger Hodgson,
Lakeside,
Archie Shepp,
Scan 7,
Be Bop Deluxe,
In Retrospect,
Carl Craig,
Flash Fearless,
Swell Maps,
Boredoms,
Jerry Gold Smith,
Dual Sessions,
Kenny Larkin,
Sandy B,
Masters at Work,
Ossler,
Bad Manners,
The Knickerbockers,
Camberwell Now,
Ultravox,
Delta 5,
Pussy Galore,
Nils Olav,
Röyhkä ja Rättö ja Lehtisalo,
Lee Hazlewood,
Eric B and Rakim,
Drexciya,
Gil Scott Heron,
Nik Kershaw,
Saccharine Trust,
The Mojo Men,
Scientists,
Scratch Acid,
Suburban Knight,
Joyce Sims,
Moby Grape,
Soft Machine,
Amon Düül II,
Interpol,
Can,
Warren Ellis,
Television Personalities,
London Community Gospel Choir,
Yellowson,
Mandrill,
Gang Gang Dance,
AZ,
F. McDonald,
The Martian,
DJ Sneak,
Barry Ungar,
Index,
Connie Case, Connie Case, Connie Case, Connie Case.
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.