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 Somalia and from Glasgow.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Milan and Milan.
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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the linndrum 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 Bad Manners to the grime 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 Faust. All the underground hits.
All Sparks tracks. I heard you have a vinyl of every Public Enemy 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 '70s cut and another box set from the '90s.
I hear you're buying a sitar and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Selector Dub Narcotic record.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Evens,
Art Ensemble Of Chicago,
Hasil Adkins,
The Saints,
Black Bananas,
Carl Craig,
X-102,
Blancmange,
The Selecter,
48th St. Collective,
B.T. Express,
Drexciya,
Wire,
the Normal,
The Vogues,
Oppenheimer Analysis,
The Dave Clark Five,
Guru Guru,
Monolake,
The Last Poets,
Pharoah Sanders,
Nation of Ulysses,
Cybotron,
Bobby Sherman,
The Real Kids,
Amon Düül,
The Dead C,
Scratch Acid,
F. McDonald,
Marshall Jefferson,
Shuggie Otis,
Khruangbin,
Cal Tjader,
Metal Thangz,
Colin Newman,
Goldenarms,
Dawn Penn,
Absolute Body Control,
Clear Light,
Gil Scott Heron,
Roy Ayers,
Bill Wells,
Jimmy McGriff,
Bobby Womack,
the Bar-Kays,
Delon & Dalcan,
Chrome,
Parry Music,
Index,
Althea and Donna,
Kings Of Tomorrow,
Barbara Tucker,
The Shadows of Knight,
the Association,
The Searchers,
The Human League,
Yaz,
Tropical Tobacco,
Ralphi Rosario,
The Misunderstood,
Mark Hollis,
Rufus Thomas,
Danielle Patucci, Danielle Patucci, Danielle Patucci, Danielle Patucci.
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.