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 Ethiopia and from London.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1969 to 1978.
I'm losing my edge.
To all the kids in Halifax and Milan.
I'm losing my edge to the art-school Lyon 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 guitar 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 Lizzy Mercier Descloux to the electroclash 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 Vladislav Delay. All the underground hits.
All Jimmy McGriff tracks. I heard you have a vinyl of every Ice-T 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 '70s cut and another box set from the '90s.
I hear you're buying a chamberlin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Goldenarms record.
I hear that you and your band have sold your mellotron and bought a güiro.
I hear that you and your band have sold your güiro and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Masters at Work,
Rhythm & Sound,
Jerry Gold Smith,
Subhumans,
Red Lorry Yellow Lorry,
Nirvana,
Kool G Rap & DJ Polo,
the Normal,
Pantaleimon,
Brick,
Gregory Isaacs,
Magma,
The Divine Comedy,
Fifty Foot Hose,
Godley & Creme,
MDC,
The Blackbyrds,
Tom Boy,
David Axelrod,
Peter & Gordon,
Roxy Music,
Alice Coltrane,
Aswad,
Procol Harum,
The Move,
Rowland S Howard / Lydia Lunch,
Scrapy,
Aaron Thompson,
Crash Course in Science,
Au Pairs,
The Blues Magoos,
The Men They Couldn't Hang,
Animal Collective,
Wings,
Eric Copeland,
Freddie Wadling,
Nation of Ulysses,
Marc Romboy vs. Booka Shade,
The J.B.'s,
Sparks,
Cluster,
La Düsseldorf,
Heaven 17,
Kauko Röyhkä ja Narttu,
Soulsonic Force,
Kool Moe Dee,
The Detroit Cobras,
the Swans,
Frankie Knuckles,
Rhythim Is Rhythim,
Lee Hazlewood,
The Sonics,
Lizzy Mercier Descloux,
Junior Murvin,
Kango’s Stein Massive,
Girls At Our Best!,
Hardrive,
Barbara Tucker,
Gian Franco Pienzio,
The West Coast Pop Art Experimental Band,
Neil Young & Crazy Horse, Neil Young & Crazy Horse, Neil Young & Crazy Horse, Neil Young & Crazy Horse.
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.