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 Bahamas and from Copenhagen.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Tehran and Columbus.
I'm losing my edge to the art-school Philadelphia 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 1976 at the first Wire practice in a loft in Watford.
I was working on the sitar sounds with much patience.
I was there when David Bowie 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 Gang of Four to the jazz 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 Half Japanese. All the underground hits.
All Glambeats Corp. tracks. I heard you have a vinyl of every Babytalk record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a marimba and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Tom Boy record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eli Mardock,
E-Dancer,
The Walker Brothers,
Glambeats Corp.,
The Trojans,
Grey Daturas,
Ossler,
Whodini,
Section 25,
Marc Almond,
John Cale,
Deadbeat,
T.S.O.L.,
Zero Boys,
Gang Green,
Rowland S Howard / Lydia Lunch,
Monolake,
Severed Heads,
Selector Dub Narcotic,
Gregory Isaacs,
Kerri Chandler,
Neil Young,
Davy DMX,
Notorious Big And Bone Thugs,
The Slits,
Panda Bear,
The Cosmic Jokers,
Ralphi Rosario,
Kurtis Blow,
Pharaoh Sanders and the Fire Engines,
Al Stewart,
Sun Ra,
Kenny Larkin,
The Music Machine,
Ohio Players,
DJ Sneak,
Lou Reed & John Cale,
Pere Ubu,
James Chance & The Contortions,
Chris & Cosey,
Amazonics,
Andrew Ashong & Theo Parrish,
Grandmaster Flash,
Barbara Tucker,
Albert Ayler,
David Axelrod,
The Smiths,
Pete Rock & C.L. Smooth,
Strawberry Alarm Clock,
Yellowson,
Minutemen,
Andrew Hill,
Jesper Dahlback,
Motorama,
Todd Rundgren,
Soulsonic Force,
Archie Shepp,
Youth Brigade,
Eddi Front,
Stiv Bators, Stiv Bators, Stiv Bators, Stiv Bators.
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.