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 Monaco and from Tehran.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1961 to 1978.
I'm losing my edge.
To all the kids in Tokyo and Woodstock.
I'm losing my edge to the art-school Taipei 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 marimba 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 The Cramps to the disco kids.
I played it at the Troubador.
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 Crispian St. Peters. All the underground hits.
All Sandy B tracks. I heard you have a vinyl of every Cecil Taylor record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an organ and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Scott Walker record.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lebanon Hanover,
Warren Ellis,
Andrew Ashong & Theo Parrish,
Rhythm & Sound,
Gil Scott-Heron & Brian Jackson,
The Litter,
The Mummies,
ABC,
The Monks,
Pylon,
Strawberry Alarm Clock,
Swell Maps,
Kenny Larkin,
Cheater Slicks,
Lightning Bolt,
The Evens,
Eurythmics,
Crime,
Bob Dylan,
Royal Trux,
Art Ensemble Of Chicago,
Quando Quango,
Neil Young & Crazy Horse,
Goldenarms,
Dave Gahan,
The Vogues,
Cybotron,
Juan Atkins,
Hot Snakes,
Pet Shop Boys,
These Immortal Souls,
Matthew Halsall,
the Human League,
Toni Rubio,
Rhythim Is Rhythim,
Red Lorry Yellow Lorry,
Agitation Free,
Steve Hackett,
The Standells,
Ralphi Rosario,
The West Coast Pop Art Experimental Band,
Darondo,
Sister Nancy,
The Seeds,
Shuggie Otis,
Susan Cadogan,
Faraquet,
Barrington Levy,
Mo-Dettes,
Country Joe & The Fish,
Mandrill,
Average White Band,
Arthur Verocai,
Liaisons Dangereuses,
Curtis Mayfield,
Livin' Joy,
Can,
John Holt,
Marc Romboy vs. Booka Shade,
Leonard Cohen,
Henry Cow,
Ornette Coleman, Ornette Coleman, Ornette Coleman, Ornette Coleman.
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.