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 Zambia and from Milan.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1970.
I'm losing my edge.
To all the kids in Bologna and Shanghai.
I'm losing my edge to the art-school Beijing 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the sitar sounds with much patience.
I was there when Holger Czukay 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 Sex Pistols to the dance 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 Avey Tare. All the underground hits.
All Brass Construction tracks. I heard you have a vinyl of every Underground Resistance 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 spring reverb and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a PIL record.
I hear that you and your band have sold your güiro and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Monochrome Set,
Eve St. Jones,
Minor Threat,
Kauko Röyhkä ja Narttu,
The Seeds,
Mad Mike,
Avey Tare,
Lee Hazlewood,
World's Most,
Gichy Dan,
Patti Smith,
Ultravox,
Liaisons Dangereuses,
The Monks,
Bobby Sherman,
Girls At Our Best!,
Bill Near,
Spandau Ballet,
Lebanon Hanover,
Andrew Ashong & Theo Parrish,
K-Klass,
Inner City,
Sarah Menescal,
Gary Puckett & The Union Gap,
David McCallum,
Cabaret Voltaire,
Y Pants,
The Dave Clark Five,
Selector Dub Narcotic,
Neu!,
Ice-T,
The Flesh Eaters,
Ajijia Myrayebe,
Kerrie Biddell,
the Human League,
Gian Franco Pienzio,
Essential Logic,
Sad Lovers and Giants,
Quando Quango,
Marshall Jefferson,
Black Moon,
Chris & Cosey,
Matthew Halsall,
The Dirtbombs,
The Cure,
The Angels of Light,
The Evens,
Hot Snakes,
Yellowson,
Beasts of Bourbon,
48th St. Collective,
CMW,
Bauhaus,
Jeff Mills,
Fat Boys,
The Slits,
Model 500,
Rotary Connection,
China Crisis,
Scion,
Josef K,
Graham Central Station,
Rahsaan Roland Kirk, Rahsaan Roland Kirk, Rahsaan Roland Kirk, Rahsaan Roland Kirk.
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.