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 Malawi and from Stockholm.
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 1969 to 1975.
I'm losing my edge.
To all the kids in Tokyo and Portland.
I'm losing my edge to the art-school Spokane 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the organ 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 The Searchers to the grime kids.
I played it at the Spitz.
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 Sparks. All the underground hits.
All James Chance & The Contortions tracks. I heard you have a vinyl of every David McCallum record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a synthesizer and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Notorious Big And Bone Thugs record.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Spandau Ballet,
Zapp,
Byron Stingily,
Minnie Riperton,
In Retrospect,
Lebanon Hanover,
The Leaves,
MDC,
Judy Mowatt,
Yellowson,
Bush Tetras,
Sarah Menescal,
Unrelated Segments,
Talk Talk,
Electric Prunes,
The Modern Lovers,
The Durutti Column,
Oneida,
Captain Beefheart & His Magic Band,
Eli Mardock,
Justin Hinds & The Dominoes,
Unwound,
Kerrie Biddell,
John Foxx,
Main Source,
Buzzcocks,
Marc Romboy vs. Booka Shade,
Glenn Branca,
Oppenheimer Analysis,
the Germs,
Ice-T,
Johnny Osbourne,
Tim Buckley,
L. Decosne,
The Mummies,
Negative Approach,
Jandek,
Joyce Sims,
The Flesh Eaters,
E-Dancer,
The Raincoats,
Colin Newman,
Siglo XX,
This Heat,
EPMD,
Jesper Dahlback,
Drexciya,
Black Sheep,
Kevin Saunderson,
Black Bananas,
Bauhaus,
Peter & Gordon,
Crispy Ambulance,
Underground Resistance,
Lalo Schifrin,
The Index,
Sugar Minott,
Easy Going,
Sunsets and Hearts,
Aaron Thompson,
Graham Central Station, Graham Central Station, Graham Central Station, Graham Central Station.
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.