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 Taiwan and from Beijing.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Calgary and Tehran.
I'm losing my edge to the art-school Glasgow 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 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 Sight & Sound to the crunk 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 Jesper Dahlbäck. All the underground hits.
All Hasil Adkins tracks. I heard you have a vinyl of every Agent Orange record on German import.
I heard that you have a white label of every seminal rap 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 a güiro and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Andrew Hill record.
I hear that you and your band have sold your theremin and bought an oboe.
I hear that you and your band have sold your oboe and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Anthony Braxton,
Super Lover Cee & Casanova Rud,
Amon Düül II,
The Wake,
Leonard Cohen,
Gichy Dan,
D'Angelo,
Matthew Halsall,
Michelle Simonal,
The Gories,
Vaughan Mason & Crew,
Max Romeo,
Sun City Girls,
L. Decosne,
Visage,
Henry Cow,
Traffic Nightmare,
UT,
Robert Görl,
Parry Music,
Malaria!,
Can,
E-Dancer,
Aswad,
Loose Ends,
The Busters,
Sonny Sharrock,
Drexciya,
Cymande,
Ultramagnetic MC's,
Rahsaan Roland Kirk,
U.S. Maple,
Niagra,
Nils Olav,
Matthew Bourne,
Kings Of Tomorrow,
Cecil Taylor,
Fatback Band,
Justin Hinds & The Dominoes,
Ronan,
Barry Ungar,
Darondo,
Stetsasonic,
The Seeds,
Terrestrial Tones,
Graham Central Station,
Stereo Dub,
the Soft Cell,
Robert Wyatt,
Zapp,
Danielle Patucci,
Vainqueur,
Technova,
Grandmaster Flash,
Lafayette Afro Rock Band,
Swell Maps,
Avey Tare & Kría Brekkan,
the Germs,
The Residents,
Kayak,
Skriet,
The Happenings, The Happenings, The Happenings, The Happenings.
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.