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 Angola and from Salvador.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Mumbai and Columbus.
I'm losing my edge to the art-school Tehran 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 chamberlin sounds with much patience.
I was there when David Bowie 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 Dave Gahan to the grime 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 Flamin' Groovies. All the underground hits.
All The West Coast Pop Art Experimental Band tracks. I heard you have a vinyl of every Cameo record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a spring reverb and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Marcia Griffiths record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sparks,
Ponytail,
Flash Fearless,
Wolf Eyes,
Liliput,
The Music Machine,
Sonny Sharrock,
John Cale,
The Martian,
Easy Going,
Jesper Dahlback,
James White and The Blacks,
Rosa Yemen,
New York Dolls,
Lizzy Mercier Descloux,
Ituana,
The Mighty Diamonds,
Pantytec,
Gang Gang Dance,
Boredoms,
Maleditus Sound,
Nik Kershaw,
Scion,
Bobby Womack,
Jerry's Kids,
Depeche Mode,
Gil Scott-Heron and Jamie xx,
Archie Shepp,
Massinfluence,
Yusef Lateef,
Man Parrish,
Steve Hackett,
D'Angelo,
Chris & Cosey,
Chris Corsano,
World's Most,
Spandau Ballet,
Rod Modell,
Royal Trux,
Ultravox,
Scott Walker + Sunn O))),
Scrapy,
Matthew Halsall,
The Black Dice,
Sixth Finger,
The Slackers,
Camberwell Now,
Kaleidoscope,
Ultra Naté,
Selector Dub Narcotic,
Lucky Dragons,
Arab on Radar,
Rahsaan Roland Kirk,
Lonnie Liston Smith,
The Jesus and Mary Chain,
Bronski Beat,
Sunsets and Hearts,
CMW,
Guru Guru,
Alton Ellis,
Nils Olav,
Subhumans, Subhumans, Subhumans, Subhumans.
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.