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 the UAE and from Mumbai.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1962 to 1979.
I'm losing my edge.
To all the kids in Lyon and London.
I'm losing my edge to the art-school Woodstock 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 guitar sounds with much patience.
I was there when Nile Rodgers 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 Bizarre Inc. to the dance kids.
I played it at the Astoria.
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 Grandmaster Flash. All the underground hits.
All Warsaw tracks. I heard you have a vinyl of every AZ record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a güiro and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Man Parrish record.
I hear that you and your band have sold your theremin and bought a sitar.
I hear that you and your band have sold your sitar and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dave Gahan,
Can,
Big Daddy Kane,
The Selecter,
Al Stewart,
Ultimate Spinach,
E-Dancer,
Scion,
Adolescents,
Scientists,
The Royal Family And The Poor,
Oppenheimer Analysis,
Blancmange,
Porter Ricks,
Sight & Sound,
Joyce Sims,
Fort Wilson Riot,
Harry Pussy,
JFA,
Severed Heads,
Sunsets and Hearts,
The Birthday Party,
Lou Christie,
Stockholm Monsters,
Slave,
Lalo Schifrin,
Unrelated Segments,
Inner City,
Sarah Menescal,
Kango’s Stein Massive,
Bootsy Collins,
Ronan,
Monks,
Intrusion,
The Slits,
Donny Hathaway,
Albert Ayler,
Gian Franco Pienzio,
Barry Ungar,
Rhythm & Sound,
Harmonia,
the Slits,
Terry Callier,
The Offenders,
Bill Near,
Oneida,
48th St. Collective,
Eric Dolphy,
Jeru the Damaja,
Icehouse,
The Zeros,
Pet Shop Boys,
Cybotron,
Colin Newman,
Sonny Sharrock,
The Trojans,
Qualms,
Alice Coltrane,
Johnny Clarke,
Marc Almond,
Young Marble Giants,
The Sonics, The Sonics, The Sonics, The Sonics.
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.