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 Sweden and from Woodstock.
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 1968 to 1974.
I'm losing my edge.
To all the kids in Manila and Stockholm.
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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the spring reverb sounds with much patience.
I was there when David Bowie 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 Vaughan Mason & Crew to the grime kids.
I played it at the Roxy.
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 Smog. All the underground hits.
All Japan tracks. I heard you have a vinyl of every Faust record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a clarinet and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Ossler record.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Chris Corsano,
Lower 48,
OOIOO,
Thee Headcoats,
Public Enemy,
Newcleus,
Camouflage,
The Seeds,
Gregory Isaacs,
Swans,
Radio Birdman,
Eric Copeland,
Technova,
Rahsaan Roland Kirk,
Gil Scott Heron,
Moby Grape,
Sun Ra,
Smog,
Organ,
Japan,
The Mummies,
Flash Fearless,
The Moody Blues,
Barclay James Harvest,
Rufus Thomas,
the Fania All-Stars,
Colin Newman,
Richard Hell and the Voidoids,
Khruangbin,
Television Personalities,
Alice Coltrane,
Glenn Branca,
The United States of America,
Deepchord,
Tom Boy,
Bob Dylan,
Faraquet,
The Smiths,
E-Dancer,
Lonnie Liston Smith,
The Trojans,
Sight & Sound,
Con Funk Shun,
Black Sheep,
Fugazi,
Arab on Radar,
John Holt,
Camberwell Now,
Country Teasers,
Liaisons Dangereuses,
Malaria!,
Jeru the Damaja,
Television,
The Detroit Cobras,
The Kinks,
The Saints,
In Retrospect,
Soulsonic Force,
Sandy B,
Jawbox,
The Move,
Porter Ricks,
Barry Ungar, Barry Ungar, Barry Ungar, Barry Ungar.
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.