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 Botswana and from Mexico City.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1970.
I'm losing my edge.
To all the kids in Milan and New York.
I'm losing my edge to the art-school Glasgow 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 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 Skaos to the disco kids.
I played it at the Spitz.
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 Leaves. All the underground hits.
All Bootsy Collins tracks. I heard you have a vinyl of every The Music Machine record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a linndrum and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a World's Most record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marc Romboy vs. Booka Shade,
48th St. Collective,
Animal Collective,
John Foxx,
Bluetip,
Donny Hathaway,
The Fire Engines,
Alice Coltrane,
Vladislav Delay,
Bang on a Can All-Stars,
K-Klass,
Lou Reed,
Los Fastidios,
Kayak,
Ultra Naté,
Magma,
Heavy D & The Boyz,
The Index,
Oneida,
Fugazi,
Stetsasonic,
Bootsy's Rubber Band,
Bauhaus,
The Fall,
Visionaries,LMNO, T- Love & Iriscience,
Royal Trux,
Inner City,
Stiv Bators,
The Fortunes,
The Last Poets,
Major Organ And The Adding Machine,
Andrew Hill,
Basic Channel,
Janne Schatter,
Warsaw,
Joey Negro,
Mandrill,
The Chocolate Watch Band,
Lyres,
Wally Richardson,
Josef K,
Gil Scott-Heron and Jamie xx,
Suburban Knight,
Intrusion,
H. Thieme,
Bootsy Collins,
Reuben Wilson,
Circle Jerks,
Soul II Soul,
DeepChord presents Echospace,
Aswad,
Heaven 17,
Marine Girls,
Warren Ellis,
Minnie Riperton,
The Pretty Things,
Monks,
The Gun Club,
Robert Hood, Robert Hood, Robert Hood, Robert Hood.
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.