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 Philippines and from Edmonton.
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 1978.
I'm losing my edge.
To all the kids in Jakarta and Woodstock.
I'm losing my edge to the art-school Houston 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 Throbbing Gristle practice in a loft in London.
I was working on the marimba sounds with much patience.
I was there when Captain Beefheart 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 Scion to the grime kids.
I played it at the Astoria.
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 Isaac Hayes. All the underground hits.
All Andrew Hill tracks. I heard you have a vinyl of every Arcadia record on German import.
I heard that you have a white label of every seminal dance 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 synthesizer and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Crispy Ambulance record.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
EPMD,
The Fugs,
Swans,
Jesper Dahlbäck,
T. Rex,
De La Soul & Jungle Brothers,
The United States of America,
a-ha,
the Bar-Kays,
Girls At Our Best!,
The Jesus and Mary Chain,
Archie Shepp,
Bobbi Humphrey,
June Days,
H. Thieme,
Sällskapet,
Sight & Sound,
Terrestrial Tones,
Black Flag,
Soft Machine,
Maleditus Sound,
Country Joe & The Fish,
Pete Rock & C.L. Smooth,
Pharaoh Sanders and the Fire Engines,
Amazonics,
Kool G Rap & DJ Polo,
Patti Smith,
Alison Limerick,
Roy Ayers,
Liliput,
Skarface,
U.S. Maple,
Louis and Bebe Barron,
These Immortal Souls,
Anakelly,
The Victims,
X-101,
Moby Grape,
Los Fastidios,
Japan,
Larry & the Blue Notes,
The Stooges,
N.O.R.E. Featuring Pharrell,
Godley & Creme,
The Standells,
Inner City,
Scan 7,
Flamin' Groovies,
Lou Reed,
The Cowsills,
Q65,
Tubeway Army,
Lebanon Hanover,
Boredoms,
Warren Ellis,
Can,
Barry Ungar,
A Certain Ratio,
Underground Resistance,
The Slackers, The Slackers, The Slackers, The Slackers.
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.