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 Paraguay and from Taipei.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Lyon and Beijing.
I'm losing my edge to the art-school Mumbai 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 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 Robert Wyatt to the rap kids.
I played it at the Astoria.
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 Pussy Galore. All the underground hits.
All X-101 tracks. I heard you have a vinyl of every Strawberry Alarm Clock record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying an oboe and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Graham Central Station record.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Swell Maps,
Ten City,
Peter and Kerry,
Country Joe & The Fish,
Scan 7,
Masters at Work,
The Techniques,
Mad Mike,
Black Pus,
The Invisible,
Angry Samoans,
Janne Schatter,
Cybotron,
Section 25,
Mary Jane Girls,
Jeff Lynne,
Los Fastidios,
Bootsy Collins,
Iggy Pop,
Marine Girls,
Electric Prunes,
Lucky Dragons,
Bobby Sherman,
Rapeman,
X-101,
Kool Moe Dee,
Audionom,
The Moody Blues,
Ice-T,
Rhythim Is Rhythim,
Sister Nancy,
Lizzy Mercier Descloux,
Bush Tetras,
DeepChord presents Echospace,
Camouflage,
Delon & Dalcan,
Arcadia,
Metal Thangz,
Bobby Womack,
Hardrive,
UT,
Eric B and Rakim,
The Sonics,
Saccharine Trust,
Stereo Dub,
The Men They Couldn't Hang,
The United States of America,
The Names,
Avey Tare & Kría Brekkan,
The Shadows of Knight,
Khruangbin,
Cluster,
The Searchers,
Howard Jones,
the Sonics,
The Royal Family And The Poor,
Rhythm & Sound,
Black Moon,
New Age Steppers,
Rosa Yemen,
Slick Rick, Slick Rick, Slick Rick, Slick Rick.
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.