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 Angola and from Copenhagen.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1961 to 1973.
I'm losing my edge.
To all the kids in Bologna and Copenhagen.
I'm losing my edge to the art-school Edmonton 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the arpeggiator 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 Flipper to the rock kids.
I played it at the Troubador.
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 Charles Mingus. All the underground hits.
All Wire tracks. I heard you have a vinyl of every Hot Snakes record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a clarinet and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Kango’s Stein Massive record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ludus,
The Flesh Eaters,
Robert Görl,
Beasts of Bourbon,
Bauhaus,
The Busters,
Bobby Womack,
The Skatalites,
Tom Boy,
K-Klass,
Eve St. Jones,
MDC,
DJ Sneak,
Shoche,
Blake Baxter,
Rapeman,
Schoolly D,
Be Bop Deluxe,
Joe Finger,
Lebanon Hanover,
Robert Hood,
Radiohead,
Dave Gahan,
Charles Mingus,
Lungfish,
Faust,
Major Organ And The Adding Machine,
The Kinks,
The J.B.'s,
Monks,
Easy Going,
Black Sheep,
Tubeway Army,
Malaria!,
Anthony Braxton,
Vladislav Delay,
Boz Scaggs,
Motorama,
Gerry Rafferty,
Pet Shop Boys,
Youth Brigade,
Kauko Röyhkä ja Narttu,
The Alarm Clocks,
Grandmaster Flash and the Furious Five,
Make Up,
Lizzy Mercier Descloux,
The Fall,
The Mojo Men,
Porter Ricks,
Cameo,
The Peanut Butter Conspiracy,
The Victims,
Freddie Wadling,
Technova,
John Cale,
Peter and Kerry,
Gang Starr,
Dual Sessions,
Hot Snakes,
Mad Mike,
the Germs,
Cal Tjader,
Nick Cave & The Bad Seeds, Nick Cave & The Bad Seeds, Nick Cave & The Bad Seeds, Nick Cave & The Bad Seeds.
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.