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 Grenada and from Houston.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Portland and Bremen.
I'm losing my edge to the art-school Tokyo 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the spring reverb sounds with much patience.
I was there when Captain Beefheart 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 Gabor Szabo to the jazz kids.
I played it at the Hacienda.
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 the Soft Cell. All the underground hits.
All R.M.O. tracks. I heard you have a vinyl of every James White and The Blacks 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 '50s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Sex Pistols record.
I hear that you and your band have sold your 808 and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Arthur Verocai,
Yusef Lateef,
Marine Girls,
Deakin,
Rhythim Is Rhythim,
The Black Dice,
Derrick Morgan,
John Coltrane,
Letta Mbulu,
Bush Tetras,
The Shadows of Knight,
Ronan,
Brass Construction,
It's A Beautiful Day,
Fugazi,
Peter Gordon & Love of Life Orchestra,
Bizarre Inc.,
Echospace,
DNA,
Massinfluence,
Ken Boothe,
New Order,
Gil Scott-Heron & Brian Jackson,
Jesper Dahlbäck,
Sound Behaviour,
The Remains,
Radio Birdman,
Warren Ellis,
The Smoke,
Sun Ra Arkestra,
DJ Style,
Blancmange,
A Certain Ratio,
L. Decosne,
The Names,
Zapp,
The Birthday Party,
Underground Resistance,
Freddie Wadling,
Kerrie Biddell,
The Smiths,
Supertramp,
Wolf Eyes,
Toni Rubio,
Joy Division,
David Axelrod,
Alison Limerick,
The Count Five,
Funkadelic,
Sam Rivers,
Johnny Osbourne,
Johnny Clarke,
Aaron Thompson,
Byron Stingily,
The Peanut Butter Conspiracy,
Theoretical Girls,
Can,
These Immortal Souls,
Flipper,
Heavy D & The Boyz,
Agent Orange,
Alice Coltrane, Alice Coltrane, Alice Coltrane, Alice Coltrane.
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.