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 South Africa and from Tehran.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Mumbai and Portland.
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 1976 at the first Chic practice in a loft in New York.
I was working on the marimba 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 Soft Machine to the rock 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 Colin Newman. All the underground hits.
All Jandek tracks. I heard you have a vinyl of every Lucky Dragons record on German import.
I heard that you have a white label of every seminal crunk 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 an oboe and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Jesus and Mary Chain record.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Japan,
Rosa Yemen,
Make Up,
Organ,
Stockholm Monsters,
Sight & Sound,
Arcadia,
Erasure,
H. Thieme,
Surgeon,
Warren Ellis,
The Durutti Column,
Moby Grape,
Radiopuhelimet,
Schoolly D,
Matthew Halsall,
Bauhaus,
The Angels of Light,
Sun City Girls,
The Residents,
Rhythim Is Rhythim,
Wally Richardson,
Absolute Body Control,
Alison Limerick,
Michelle Simonal,
T. Rex,
Livin' Joy,
Gregory Isaacs,
Popol Vuh,
Eyeless In Gaza,
The Busters,
John Coltrane,
Flash Fearless,
Godley & Creme,
Bobbi Humphrey,
Swell Maps,
Camouflage,
Eric B and Rakim,
Radiohead,
EPMD,
Desert Stars,
London Community Gospel Choir,
Kaleidoscope,
Dorothy Ashby,
Piero Umiliani,
E-Dancer,
Index,
Oblivians,
Gang Green,
Rekid,
Siouxsie and the Banshees,
Jeff Mills,
Lightning Bolt,
Ten City,
cv313,
Spandau Ballet,
Chrome,
B.T. Express,
Marc Romboy vs. Booka Shade,
Pete Rock & C.L. Smooth,
Orchestral Manoeuvres in the Dark,
Camberwell Now,
Chris & Cosey,
Terrestrial Tones, Terrestrial Tones, Terrestrial Tones, Terrestrial Tones.
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.