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 Nauru and from Delhi.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 Paris and Copenhagen.
I'm losing my edge to the art-school Johannesburg 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the linndrum sounds with much patience.
I was there when Michael McDonald 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 Josef K to the rap 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 The Monks. All the underground hits.
All Alison Limerick tracks. I heard you have a vinyl of every These Immortal Souls 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 spring reverb and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Andrew Ashong & Theo Parrish record.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Camberwell Now,
Johnny Clarke,
Cluster,
Anthony Braxton,
Colin Newman,
Scientists,
Gian Franco Pienzio,
Kenny Larkin,
Livin' Joy,
Gerry Rafferty,
The West Coast Pop Art Experimental Band,
Pantaleimon,
Gabor Szabo,
Aural Exciters,
Steve Hackett,
Agent Orange,
Talk Talk,
Super Lover Cee & Casanova Rud,
Quantec,
Kool Moe Dee,
Carl Craig,
The Modern Lovers,
La Düsseldorf,
Newcleus,
R.M.O.,
Lonnie Liston Smith,
Adolescents,
Rapeman,
Godley & Creme,
Lower 48,
ABC,
Shuggie Otis,
Gong,
Drive Like Jehu,
Tommy Roe,
F. McDonald,
Niagra,
Iggy Pop,
New Order,
Sight & Sound,
Oneida,
Fort Wilson Riot,
China Crisis,
Funky Four + One,
The Techniques,
DJ Sneak,
Unwound,
Infiniti,
Swans,
Ponytail,
Girls At Our Best!,
Larry & the Blue Notes,
Junior Murvin,
ABBA,
The Invisible,
Nico,
Goldenarms,
Schoolly D,
Rotary Connection,
Pete Rock & C.L. Smooth,
Hashim,
Saccharine Trust,
Unrelated Segments, Unrelated Segments, Unrelated Segments, Unrelated Segments.
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.