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 Cuba and from Spokane.
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 1976.
I'm losing my edge.
To all the kids in Tokyo and Mumbai.
I'm losing my edge to the art-school Toronto 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the güiro 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 John Holt to the grime 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 Smog. All the underground hits.
All Minutemen tracks. I heard you have a vinyl of every The Dirtbombs 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 '50s cut and another box set from the '90s.
I hear you're buying a snare and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Minny Pops record.
I hear that you and your band have sold your guitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Au Pairs,
Sight & Sound,
Traffic Nightmare,
H. Thieme,
The Human League,
A Certain Ratio,
the Bar-Kays,
Q65,
Big Daddy Kane,
Louis and Bebe Barron,
David McCallum,
The Divine Comedy,
The Walker Brothers,
Television,
Drive Like Jehu,
Zero Boys,
Eyeless In Gaza,
Kool G Rap & DJ Polo,
MC5,
Camberwell Now,
Dawn Penn,
Spandau Ballet,
Charles Mingus,
E-Dancer,
R.M.O.,
Bluetip,
The Misunderstood,
Major Organ And The Adding Machine,
Metal Thangz,
Altered Images,
Bobby Byrd,
Crooked Eye,
The Star Department,
Albert Ayler,
Stereo Dub,
Essential Logic,
New Order,
Idris Muhammad,
Scott Walker,
the Fania All-Stars,
The Gladiators,
Cecil Taylor,
Radiopuhelimet,
New Age Steppers,
The Evens,
Sly & The Family Stone,
Ronan,
Tommy Roe,
Depeche Mode,
Tres Demented,
Robert Görl,
The Count Five,
Fear,
Chrome,
Sound Behaviour,
Eli Mardock,
The Monks,
Dorothy Ashby,
Manfred Mann's Earth Band,
Scientists, Scientists, Scientists, Scientists.
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.