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 Tunisia and from Johannesburg.
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 1971.
I'm losing my edge.
To all the kids in Bologna and Lyon.
I'm losing my edge to the art-school Delhi 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 sitar sounds with much patience.
I was there when Donald Fagen 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 Velvet Underground to the electroclash 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 Glenn Branca. All the underground hits.
All Thinking Fellers Union Local 282 tracks. I heard you have a vinyl of every Fat Boys record on German import.
I heard that you have a white label of every seminal disco 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 snare and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Lou Reed record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Japan,
The West Coast Pop Art Experimental Band,
DNA,
Gang Starr,
Los Fastidios,
JFA,
John Coltrane,
Aaron Thompson,
Davy DMX,
Neil Young & Crazy Horse,
Inner City,
Gregory Isaacs,
Radiopuhelimet,
Joe Smooth,
Peter & Gordon,
Kauko Röyhkä ja Narttu,
Throbbing Gristle,
Make Up,
CMW,
The Selecter,
Radio Birdman,
Alison Limerick,
Agent Orange,
Yaz,
Quadrant,
Lucky Dragons,
The Happenings,
Thompson Twins,
Sandy B,
Jerry's Kids,
Sound Behaviour,
The Neon Judgement,
Symarip,
Con Funk Shun,
Echospace,
The Toasters,
Stetsasonic,
Mars,
OOIOO,
Bill Wells,
David McCallum,
Hardrive,
E-Dancer,
Sixth Finger,
Faust,
Charles Mingus,
Robert Görl,
Curtis Mayfield,
Fela Kuti,
Rhythm & Sound,
Tommy Roe,
Girls At Our Best!,
The Leaves,
The Beau Brummels,
The Slits,
Brothers Johnson,
Marcia Griffiths,
Swans,
Fat Boys,
Be Bop Deluxe,
Al Stewart,
Eurythmics,
James White and The Blacks, James White and The Blacks, James White and The Blacks, James White and The Blacks.
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.