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 Libya and from Lagos.
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 1967 to 1973.
I'm losing my edge.
To all the kids in Tokyo and Philadelphia.
I'm losing my edge to the art-school Seoul 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 spring reverb sounds with much patience.
I was there when Robert Palmer 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 Scott Walker + Sunn O))) to the techno kids.
I played it at CBGB's.
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 Lou Christie. All the underground hits.
All Kas Product tracks. I heard you have a vinyl of every This Heat record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a harpsichord and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Dual Sessions record.
I hear that you and your band have sold your mellotron and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Visage,
Jacques Brel,
the Association,
The Gladiators,
The Alarm Clocks,
Liliput,
The Evens,
Eric Copeland,
Funky Four + One,
The Associates,
Hot Snakes,
Skarface,
H. Thieme,
Gastr Del Sol,
R.M.O.,
Intrusion,
Cluster,
Kaleidoscope,
a-ha,
Section 25,
Underground Resistance,
The Gun Club,
Zapp,
The Detroit Cobras,
Minutemen,
Johnny Osbourne,
The J.B.'s,
Notorious Big And Bone Thugs,
Moss Icon,
Joe Finger,
Angry Samoans,
Sunsets and Hearts,
Sound Behaviour,
DeepChord presents Echospace,
Hasil Adkins,
Nick Fraelich,
Ultravox,
Charles Mingus,
The West Coast Pop Art Experimental Band,
Main Source,
Sonic Youth,
Magazine,
Rotary Connection,
Jawbox,
The Birthday Party,
Spandau Ballet,
Flipper,
Interpol,
Hoover,
Theoretical Girls,
Khruangbin,
Lungfish,
Con Funk Shun,
Bizarre Inc.,
Y Pants,
Television Personalities,
Lizzy Mercier Descloux,
Big Daddy Kane,
Groovy Waters,
Sad Lovers and Giants,
Robert Wyatt,
KRS-One, KRS-One, KRS-One, KRS-One.
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.