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 Djibouti and from Lagos.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 Bremen and Lyon.
I'm losing my edge to the art-school Woodstock 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 clarinet 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 Andrew Ashong & Theo Parrish to the rap 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 Crash Course in Science. All the underground hits.
All The Sisters of Mercy tracks. I heard you have a vinyl of every Sight & Sound 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 '60s cut and another box set from the '70s.
I hear you're buying a synthesizer and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Crime record.
I hear that you and your band have sold your oboe and bought a guitar.
I hear that you and your band have sold your guitar and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mo-Dettes,
Hot Snakes,
Andrew Hill,
KRS-One,
Bang on a Can All-Stars,
Pussy Galore,
Orchestral Manoeuvres in the Dark,
Louis and Bebe Barron,
Tim Buckley,
This Heat,
Flipper,
Deutsch Amerikanische Freundschaft,
Kevin Saunderson,
Soft Machine,
Stiv Bators,
The Fugs,
Drexciya,
Cymande,
Mars,
Young Marble Giants,
Ultimate Spinach,
Scrapy,
Black Pus,
Eli Mardock,
Eve St. Jones,
Matthew Bourne,
The Barracudas,
Fifty Foot Hose,
Laurel Aitken,
Mark Hollis,
The Victims,
Girls At Our Best!,
Blancmange,
Masters at Work,
Country Teasers,
The Martian,
Josef K,
Sarah Menescal,
The West Coast Pop Art Experimental Band,
China Crisis,
The Walker Brothers,
Tears for Fears,
Aaron Thompson,
The Wake,
Freddie Wadling,
Bush Tetras,
Faraquet,
Iggy Pop,
Pylon,
Aloha Tigers,
E-Dancer,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Bang On A Can,
Franke,
Cluster,
Brand Nubian,
Art Ensemble Of Chicago,
Television Personalities,
The Raincoats,
Gabor Szabo,
Yazoo,
UT,
Maurizio, Maurizio, Maurizio, Maurizio.
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.