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 Micronesia and from Bologna.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1963 to 1974.
I'm losing my edge.
To all the kids in Hong Kong and Hong Kong.
I'm losing my edge to the art-school Philadelphia 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 arpeggiator sounds with much patience.
I was there when Holger Czukay 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 Bill Wells to the funk kids.
I played it at the Crocodile.
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 Intrusion. All the underground hits.
All Don Cherry tracks. I heard you have a vinyl of every Gian Franco Pienzio 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 '60s cut and another box set from the '70s.
I hear you're buying a theremin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Throbbing Gristle record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Maurizio,
DeepChord presents Echospace,
La Düsseldorf,
X-101,
ABC,
Oblivians,
Chris Corsano,
X-Ray Spex,
Q65,
Dual Sessions,
PIL,
L. Decosne,
Radiopuhelimet,
Easy Going,
Heaven 17,
Mantronix,
Scan 7,
Roy Ayers Ubiquity,
Andrew Hill,
This Heat,
Drexciya,
Bang on a Can All-Stars,
Roxette,
Porter Ricks,
The Busters,
Inner City,
The Toasters,
Bootsy Collins,
Scott Walker,
Kango’s Stein Massive,
Essential Logic,
Ralphi Rosario,
Sister Nancy,
Vladislav Delay,
Unrelated Segments,
The Move,
The Raincoats,
Leonard Cohen,
Joey Negro,
Simply Red,
Stockholm Monsters,
Marcia Griffiths,
Roger Hodgson,
Skarface,
Country Joe & The Fish,
Joe Smooth,
Angels of Light & Akron/Family,
Country Teasers,
Grey Daturas,
Lindisfarne,
The Neon Judgement,
Absolute Body Control,
D'Angelo,
Niagra,
Harpers Bizarre,
Lightning Bolt,
Don Cherry,
Gang Starr,
Sly & The Family Stone,
Deadbeat,
Graham Central Station,
Justin Hinds & The Dominoes,
Pierre Henry,
Scion, Scion, Scion, Scion.
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.