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 Hong Kong.
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 1977.
I'm losing my edge.
To all the kids in Houston and Bologna.
I'm losing my edge to the art-school Woodstock 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the arpeggiator 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 Loose Ends to the grime 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 Symarip. All the underground hits.
All Audionom tracks. I heard you have a vinyl of every Gichy Dan record on German import.
I heard that you have a white label of every seminal grime 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 guitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Mandrill record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Franke,
The Durutti Column,
Dorothy Ashby,
The Skatalites,
Jacob Miller,
Arcadia,
Mark Hollis,
Kenny Larkin,
Althea and Donna,
Sun City Girls,
The Martian,
The Saints,
Black Bananas,
T.S.O.L.,
The Slackers,
Marcia Griffiths,
Beasts of Bourbon,
The Doobie Brothers,
Erasure,
Toni Rubio,
Avey Tare & Kría Brekkan,
David McCallum,
Letta Mbulu,
Unwound,
Lower 48,
Q65,
Hot Snakes,
Y Pants,
The Sound,
James Chance & The Contortions,
Howard Jones,
Youth Brigade,
Suburban Knight,
Patti Smith,
Dark Day,
The Victims,
Frankie Knuckles,
The Peanut Butter Conspiracy,
a-ha,
Deakin,
Lonnie Liston Smith,
The Wake,
Icehouse,
Brothers Johnson,
Wally Richardson,
Laurel Aitken,
U.S. Maple,
The Barracudas,
The Real Kids,
Barry Ungar,
Pere Ubu,
The Trojans,
The Five Americans,
Sonic Youth,
Altered Images,
Deadbeat,
The Residents,
Richard Hell and the Voidoids,
Cameo,
Basic Channel,
Curtis Mayfield,
Fad Gadget,
Man Eating Sloth, Man Eating Sloth, Man Eating Sloth, Man Eating Sloth.
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.