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 Papua New Guinea and from Glasgow.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1974.
I'm losing my edge.
To all the kids in Columbus and Tokyo.
I'm losing my edge to the art-school Manchester 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 snare sounds with much patience.
I was there when Michael McDonald 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 Pylon to the rock kids.
I played it at the Hacienda.
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 Teenage Jesus and the Jerks. All the underground hits.
All Q65 tracks. I heard you have a vinyl of every Theoretical Girls record on German import.
I heard that you have a white label of every seminal jazz 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 808 and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Mo-Dettes record.
I hear that you and your band have sold your sitar and bought a theremin.
I hear that you and your band have sold your theremin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Moby Grape,
Jandek,
Sun Ra Arkestra,
Joensuu 1685,
Goldenarms,
The Black Dice,
Sunsets and Hearts,
Jeru the Damaja,
Thee Headcoats,
Traffic Nightmare,
The Beau Brummels,
The Electric Prunes,
Negative Approach,
CMW,
Arab on Radar,
Bronski Beat,
The Sisters of Mercy,
Glambeats Corp.,
Barclay James Harvest,
Ten City,
Rufus Thomas,
The Pretty Things,
Alice Coltrane,
Colin Newman,
Parry Music,
Liliput,
Whodini,
Gil Scott-Heron & Brian Jackson,
Babytalk,
Bluetip,
The Wake,
Avey Tare's Slasher Flicks,
Drexciya,
It's A Beautiful Day,
Lou Reed & John Cale,
Pulsallama,
Rites of Spring,
Mo-Dettes,
Stetsasonic,
Joe Finger,
Mantronix,
Nils Olav,
Scratch Acid,
Joyce Sims,
Lalo Schifrin,
Aswad,
UT,
Junior Murvin,
Blake Baxter,
Fluxion,
Chrome,
Cheater Slicks,
The Names,
Bootsy's Rubber Band,
JFA,
Gian Franco Pienzio,
T. Rex,
Robert Wyatt,
Bauhaus,
Flipper,
Andrew Hill, Andrew Hill, Andrew Hill, Andrew Hill.
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.