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 Tanzania and from Beijing.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Shanghai and London.
I'm losing my edge to the art-school Bologna 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the spring reverb 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 Monolake to the rap kids.
I played it at Cafe Wha.
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 Television Personalities. All the underground hits.
All H. Thieme tracks. I heard you have a vinyl of every Gong record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a theremin and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Godley & Creme record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Connie Case,
The Motions,
The Wake,
The Monks,
Intrusion,
Rod Modell,
Los Fastidios,
Art Ensemble Of Chicago,
Kenny Larkin,
The Gun Club,
MDC,
Clear Light,
Brass Construction,
Ronnie Foster,
Minnie Riperton,
Amon Düül II,
Sixth Finger,
Bobby Hutcherson,
It's A Beautiful Day,
Rhythim Is Rhythim,
Public Enemy,
The Jesus and Mary Chain,
Yazoo,
Robert Wyatt,
Andrew Hill,
Delta 5,
Blancmange,
Kings Of Tomorrow,
Skaos,
Alphaville,
Selector Dub Narcotic,
Cheater Slicks,
Index,
The Modern Lovers,
Jerry's Kids,
Robert Görl,
Piero Umiliani,
Little Man,
Quadrant,
Laurel Aitken,
Chris Corsano,
Severed Heads,
One Last Wish,
World's Most,
Lalann,
Silicon Teens,
X-Ray Spex,
Lou Reed & John Cale,
Darondo,
Letta Mbulu,
The Slackers,
The Invisible,
Lungfish,
Curtis Mayfield,
Crash Course in Science,
James White and The Blacks,
Arab on Radar,
Brothers Johnson,
Heaven 17,
Kurtis Blow,
The Doobie Brothers,
Q65,
The Index,
Alison Limerick, Alison Limerick, Alison Limerick, Alison Limerick.
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.