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 Papua New Guinea and from Bologna.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Winnipeg and Taipei.
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 1973 at the first Television practice in a loft in New York.
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 Chris Corsano to the electroclash kids.
I played it at Cafe Wha.
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 Zero Boys. All the underground hits.
All Isaac Hayes tracks. I heard you have a vinyl of every Brick record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a linndrum and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Henry Cow record.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Matthew Halsall,
Massinfluence,
Albert Ayler,
Sex Pistols,
Yellowson,
T. Rex,
Glambeats Corp.,
Jawbox,
Sound Behaviour,
Red Lorry Yellow Lorry,
Fugazi,
Ohio Players,
The Selecter,
Black Flag,
Liliput,
Grauzone,
LL Cool J,
Graham Central Station,
Warren Ellis,
The Vogues,
The Flesh Eaters,
The Skatalites,
Chrome,
The Modern Lovers,
Lucky Dragons,
The Gun Club,
The Mummies,
Yusef Lateef,
Kurtis Blow,
Dorothy Ashby,
Sun Ra,
Art Ensemble Of Chicago,
Ash Ra Tempel,
Spoonie Gee,
Soul II Soul,
Grandmaster Flash,
Hashim,
Brick,
The Birthday Party,
David Axelrod,
Rowland S Howard / Lydia Lunch,
Metal Thangz,
Mark Hollis,
The Monochrome Set,
Robert Görl,
It's A Beautiful Day,
Danielle Patucci,
The Mojo Men,
Lou Christie,
Connie Case,
Captain Beefheart & His Magic Band,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Siouxsie and the Banshees,
Girls At Our Best!,
Kevin Saunderson,
Bang on a Can All-Stars,
Fad Gadget,
Byron Stingily,
Crime,
The Remains,
Fluxion,
Sad Lovers and Giants,
Drive Like Jehu,
Larry & the Blue Notes, Larry & the Blue Notes, Larry & the Blue Notes, Larry & the Blue Notes.
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.