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 Kenya and from Columbus.
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 1965 to 1976.
I'm losing my edge.
To all the kids in Paris and Philadelphia.
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 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 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 John Cale to the grime kids.
I played it at CBGB's.
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 DJ Sneak. All the underground hits.
All Pharaoh Sanders and the Fire Engines tracks. I heard you have a vinyl of every Simply Red record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Stereo Dub record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Youth Brigade,
Chris & Cosey,
Alton Ellis,
Sparks,
Captain Beefheart & His Magic Band,
Harpers Bizarre,
Nirvana,
Tommy Roe,
Bang on a Can All-Stars,
Quantec,
The Red Krayola,
Hashim,
Boredoms,
The Saints,
Outsiders,
Scientists,
Stereo Dub,
X-Ray Spex,
Wighnomy Brothers & Robag Wruhme,
Erasure,
Anthony Braxton,
Country Teasers,
The Fall,
Kango’s Stein Massive,
48th St. Collective,
Amon Düül II,
Sam Rivers,
Country Joe & The Fish,
Half Japanese,
Maurizio,
Wire,
The Leaves,
Roy Ayers,
Fluxion,
The Divine Comedy,
Gregory Isaacs,
This Heat,
Gabor Szabo,
Röyhkä ja Rättö ja Lehtisalo,
Reagan Youth,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Red Lorry Yellow Lorry,
The Slackers,
Index,
Kauko Röyhkä ja Narttu,
Terrestrial Tones,
The West Coast Pop Art Experimental Band,
Goldenarms,
Moss Icon,
Eli Mardock,
Josef K,
Flamin' Groovies,
Reuben Wilson,
Lou Reed & Metallica,
The Fuzztones,
Byron Stingily,
Arcadia,
Yaz,
Major Organ And The Adding Machine,
Liaisons Dangereuses, Liaisons Dangereuses, Liaisons Dangereuses, Liaisons Dangereuses.
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.