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 Philadelphia.
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 1964 to 1978.
I'm losing my edge.
To all the kids in Seoul and Glasgow.
I'm losing my edge to the art-school London 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 güiro 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 John Lydon to the jazz kids.
I played it at the 40 Watt.
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 Slits. All the underground hits.
All Echo & the Bunnymen tracks. I heard you have a vinyl of every The Dead C record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a guitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The American Breed record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alice Coltrane,
Sun City Girls,
David McCallum,
Sister Nancy,
Suicide,
Gong,
MDC,
Kauko Röyhkä ja Narttu,
Kevin Saunderson,
Qualms,
the Association,
Surgeon,
Little Man,
Sällskapet,
The Wake,
ABC,
Mandrill,
Underground Resistance,
Moby Grape,
Kool Moe Dee,
Unwound,
The Star Department,
Faust,
Rahsaan Roland Kirk,
Derrick Morgan,
Michelle Simonal,
Schoolly D,
The Invisible,
Josef K,
Loose Ends,
Larry & the Blue Notes,
Eyeless In Gaza,
Tres Demented,
OOIOO,
Arthur Verocai,
It's A Beautiful Day,
Sarah Menescal,
Bluetip,
Boogie Down Productions,
Agitation Free,
Yaz,
Swans,
Public Enemy,
Yellowson,
Babytalk,
Lakeside,
Joyce Sims,
Fluxion,
The Royal Family And The Poor,
Shoche,
Nils Olav,
The Durutti Column,
Wire,
Donny Hathaway,
Soulsonic Force,
Chris & Cosey,
Davy DMX,
Ossler,
The Count Five,
New Order,
Sonny Sharrock,
Country Joe & The Fish,
Kool G Rap & DJ Polo, Kool G Rap & DJ Polo, Kool G Rap & DJ Polo, Kool G Rap & DJ Polo.
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.