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 Andorra and from Lyon.
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 1974.
I'm losing my edge.
To all the kids in Milan and Tokyo.
I'm losing my edge to the art-school Mumbai 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 snare sounds with much patience.
I was there when Nile Rodgers 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 Avey Tare & Kría Brekkan to the punk 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 Don Cherry. All the underground hits.
All It's A Beautiful Day tracks. I heard you have a vinyl of every Bootsy Collins 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 '70s cut and another box set from the '70s.
I hear you're buying an oboe and a snare and are throwing your macbook out the window because you want to make something real. You want to make a London Community Gospel Choir record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Absolute Body Control,
Jawbox,
Soft Machine,
Niagra,
Crash Course in Science,
Bobbi Humphrey,
The Music Machine,
N.O.R.E. Featuring Pharrell,
Jeff Mills,
Ken Boothe,
Oneida,
Henry Cow,
Jacques Brel,
Wings,
Aural Exciters,
Pantaleimon,
The Walker Brothers,
The Evens,
Joyce Sims,
The Smoke,
The Gories,
Saccharine Trust,
Banda Bassotti,
New York Dolls,
Drive Like Jehu,
F. McDonald,
Spoonie Gee,
Girls At Our Best!,
Barclay James Harvest,
Dead Boys,
Sonic Youth,
Leonard Cohen,
Lightning Bolt,
The Red Krayola,
The Remains,
New Order,
Black Pus,
Joe Finger,
Delta 5,
Hot Snakes,
Sällskapet,
Visionaries,LMNO, T- Love & Iriscience,
Warsaw,
Don Cherry,
Archie Shepp,
Electric Light Orchestra,
Peter and Kerry,
Bill Wells,
Ponytail,
Motorama,
Super Lover Cee & Casanova Rud,
The Neon Judgement,
The Men They Couldn't Hang,
Spandau Ballet,
The Searchers,
8 Eyed Spy,
Monolake,
The Happenings,
Quadrant,
Arthur Verocai,
Barry Ungar,
Yellowson,
Masters at Work, Masters at Work, Masters at Work, Masters at Work.
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.