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 Chile and from Manila.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Manchester and Lagos.
I'm losing my edge to the art-school Cairo 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 theremin sounds with much patience.
I was there when Robert Palmer 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 Don Cherry to the grime 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 Sad Lovers and Giants. All the underground hits.
All Anthony Braxton tracks. I heard you have a vinyl of every Porter Ricks 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 '60s cut and another box set from the '80s.
I hear you're buying a snare and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Amon Düül record.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Whodini,
The Golliwogs,
Wire,
Strawberry Alarm Clock,
Dual Sessions,
Pole,
Fifty Foot Hose,
Arthur Verocai,
the Human League,
The Young Rascals,
The Five Americans,
Sugar Minott,
Sam Rivers,
Siglo XX,
The Walker Brothers,
Deadbeat,
Lakeside,
Soft Cell,
Dead Boys,
Donny Hathaway,
Susan Cadogan,
Junior Murvin,
The Black Dice,
The Doobie Brothers,
Matthew Bourne,
Sunsets and Hearts,
Deutsch Amerikanische Freundschaft,
It's A Beautiful Day,
The Vogues,
The Electric Prunes,
the Bar-Kays,
David McCallum,
Eddi Front,
Reagan Youth,
Bush Tetras,
The Sisters of Mercy,
The Remains,
Jimmy McGriff,
Ultra Naté,
Ossler,
Sight & Sound,
Bootsy Collins,
Livin' Joy,
Ultramagnetic MC's,
Qualms,
Jesper Dahlbäck,
Thompson Twins,
Vainqueur,
John Foxx,
Stereo Dub,
Dave Gahan,
Bronski Beat,
The Moleskins,
The Birthday Party,
Lee Hazlewood,
Motorama,
The Standells,
Bizarre Inc.,
Kurtis Blow,
Suburban Knight,
Khruangbin,
Kayak, Kayak, Kayak, Kayak.
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.