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 Macedonia and from Philadelphia.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1976.
I'm losing my edge.
To all the kids in Lyon and Portland.
I'm losing my edge to the art-school Shanghai 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the snare sounds with much patience.
I was there when Captain Beefheart 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 Wasted Youth to the rap 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 The American Breed. All the underground hits.
All KRS-One tracks. I heard you have a vinyl of every Cecil Taylor 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 '50s cut and another box set from the '80s.
I hear you're buying a synthesizer and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Rhythm & Sound record.
I hear that you and your band have sold your oboe and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
48th St. Collective,
Anakelly,
Bill Near,
Kerri Chandler,
Hasil Adkins,
Teenage Jesus and the Jerks,
Letta Mbulu,
Marc Romboy vs. Booka Shade,
Gang Green,
Thee Headcoats,
U.S. Maple,
Mad Mike,
Bronski Beat,
Dark Day,
Leonard Cohen,
John Coltrane,
Nation of Ulysses,
Morten Harket,
Hashim,
A Flock of Seagulls,
Ten City,
CMW,
Silicon Teens,
Carl Craig,
Visionaries,LMNO, T- Love & Iriscience,
Gary Puckett & The Union Gap,
Skaos,
Interpol,
Danielle Patucci,
China Crisis,
Neil Young & Crazy Horse,
Sam Rivers,
Black Moon,
Glenn Branca,
A Certain Ratio,
Das Ding,
Blancmange,
La Düsseldorf,
Kool G Rap & DJ Polo,
The Gladiators,
Sun City Girls,
Chris & Cosey,
Black Flag,
Steve Hackett,
Byron Stingily,
Joe Smooth,
David McCallum,
Ituana,
Procol Harum,
Rakim,
This Heat,
The Fuzztones,
James White and The Blacks,
Rod Modell,
Franke,
Todd Rundgren,
Underground Resistance,
Vladislav Delay,
B.T. Express,
Crooked Eye,
Jesper Dahlback,
Grandmaster Flash and the Furious Five,
Eric Copeland,
Gabor Szabo,
Robert Görl, Robert Görl, Robert Görl, Robert Görl.
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.