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 Senegal and from Mumbai.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in London.
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 1976.
I'm losing my edge.
To all the kids in Shanghai and Salvador.
I'm losing my edge to the art-school Portland 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 marimba sounds with much patience.
I was there when Michael McDonald 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 Blancmange to the rap kids.
I played it at Trash.
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 The Standells. All the underground hits.
All Camron Feat. Memphis Bleek And Beenie Seigel tracks. I heard you have a vinyl of every The Gun Club 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 '50s cut and another box set from the '80s.
I hear you're buying a snare and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Bill Near record.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Flash Fearless,
Robert Wyatt,
Scientists,
LL Cool J,
Siglo XX,
Curtis Mayfield,
Angry Samoans,
Underground Resistance,
Lungfish,
Marmalade,
R.M.O.,
Piero Umiliani,
Tomorrow,
Simply Red,
This Heat,
Rosa Yemen,
K-Klass,
Depeche Mode,
Tears for Fears,
Barclay James Harvest,
Delta 5,
The Fire Engines,
Spandau Ballet,
Scion,
Banda Bassotti,
Joy Division,
The Slackers,
Lizzy Mercier Descloux,
X-Ray Spex,
Barbara Tucker,
The Stooges,
Darondo,
The Gap Band,
Terry Callier,
Quantec,
Swans,
Eurythmics,
Grauzone,
Mr. Review,
X-101,
Adolescents,
James Chance & The Contortions,
Skarface,
Easy Going,
Lower 48,
Delon & Dalcan,
Josef K,
Bootsy Collins,
Cluster,
Notorious Big And Bone Thugs,
The Offenders,
Anakelly,
The Associates,
Pantytec,
Loose Ends,
Outsiders,
Ultimate Spinach,
Rites of Spring,
Harpers Bizarre,
The Fuzztones,
The Wake,
48th St. Collective,
Bizarre Inc.,
Ultra Naté,
Wolf Eyes, Wolf Eyes, Wolf Eyes, Wolf Eyes.
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.