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 Nepal and from Beijing.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Milan and Taipei.
I'm losing my edge to the art-school Winnipeg 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 güiro 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 Country Joe & The Fish to the electroclash kids.
I played it at the 40 Watt.
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 CMW. All the underground hits.
All Rakim tracks. I heard you have a vinyl of every Simply Red record on German import.
I heard that you have a white label of every seminal punk 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 marimba and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Banda Bassotti 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?
Janne Schatter,
Jeru the Damaja,
Bluetip,
Fluxion,
48th St. Collective,
Anakelly,
Scratch Acid,
Hardrive,
Sixth Finger,
Severed Heads,
Tom Boy,
Freddie Wadling,
Monolake,
Gabor Szabo,
The Skatalites,
Colin Newman,
Clear Light,
Barry Ungar,
Tommy Roe,
Eric Dolphy,
John Foxx,
Mark Hollis,
John Lydon,
The Monochrome Set,
Con Funk Shun,
Massinfluence,
Liliput,
LL Cool J,
Oneida,
Masters at Work,
Fugazi,
E-Dancer,
Roy Ayers,
The Searchers,
Mandrill,
Hot Snakes,
Vladislav Delay,
Ossler,
Parry Music,
Red Lorry Yellow Lorry,
Nation of Ulysses,
Nico,
Lou Christie,
Quadrant,
Josef K,
Grandmaster Flash and the Furious Five,
Darondo,
Man Parrish,
Barclay James Harvest,
La Düsseldorf,
Stiv Bators,
Captain Beefheart & His Magic Band,
The Dead C,
Soul Sonic Force,
The Sound,
Intrusion,
Y Pants,
Donald Byrd,
The Zeros, The Zeros, The Zeros, The Zeros.
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.