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 Tuvalu and from Woodstock.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1967 to 1975.
I'm losing my edge.
To all the kids in Mumbai and Manila.
I'm losing my edge to the art-school Bologna 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 güiro 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 The Busters to the dance kids.
I played it at the Astoria.
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 Eric Copeland. All the underground hits.
All Jerry Gold Smith tracks. I heard you have a vinyl of every Trumans Water 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 a sitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Slave record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Siouxsie and the Banshees,
Ossler,
Ornette Coleman,
Urselle,
June Days,
Sight & Sound,
The Fugs,
K-Klass,
Richard Hell and the Voidoids,
Arab on Radar,
Kool Moe Dee,
Youth Brigade,
the Sonics,
Dark Day,
Jimmy McGriff,
Zero Boys,
Gregory Isaacs,
Niagra,
Circle Jerks,
8 Eyed Spy,
Flipper,
Scott Walker + Sunn O))),
The Alarm Clocks,
Pierre Henry,
Sister Nancy,
Pantaleimon,
James Chance & The Contortions,
Easy Going,
Junior Murvin,
Black Bananas,
Fort Wilson Riot,
Robert Görl,
The Tremeloes,
The Smiths,
Pagans,
The Divine Comedy,
Scratch Acid,
The Blues Magoos,
the Fania All-Stars,
A Certain Ratio,
Eli Mardock,
Warsaw,
Moebius,
Judy Mowatt,
Kings Of Tomorrow,
Reagan Youth,
Gang Green,
Connie Case,
AZ,
The Smoke,
The Durutti Column,
Alison Limerick,
Michelle Simonal,
Fluxion,
Hardrive,
Icehouse,
Lou Reed & John Cale,
Loose Ends,
Selector Dub Narcotic,
Duran Duran,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Misunderstood, The Misunderstood, The Misunderstood, The Misunderstood.
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.