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 Palau and from Salvador.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1970.
I'm losing my edge.
To all the kids in Sao Paulo and Philadelphia.
I'm losing my edge to the art-school Sao Paulo 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the linndrum sounds with much patience.
I was there when Nile Rodgers 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 Ornette Coleman to the rap kids.
I played it at CBGB's.
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 John Foxx. All the underground hits.
All Pharoah Sanders tracks. I heard you have a vinyl of every Lightning Bolt record on German import.
I heard that you have a white label of every seminal grime 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 snare and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Gabor Szabo record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sällskapet,
Severed Heads,
Schoolly D,
Cecil Taylor,
Aural Exciters,
Hasil Adkins,
Roy Ayers Ubiquity,
Rahsaan Roland Kirk,
Mission of Burma,
Amon Düül,
Oneida,
Andrew Ashong & Theo Parrish,
Tommy Roe,
Quadrant,
Joyce Sims,
Nick Cave & The Bad Seeds,
The Mighty Diamonds,
Donny Hathaway,
Stiv Bators,
Danielle Patucci,
Pulsallama,
Tim Buckley,
Malaria!,
Sight & Sound,
EPMD,
Sly & The Family Stone,
Roxy Music,
Kool Moe Dee,
Monolake,
Howard Jones,
Parry Music,
Isaac Hayes,
Alison Limerick,
Jandek,
The Mummies,
Cameo,
Banda Bassotti,
Don Cherry,
Nation of Ulysses,
Albert Ayler,
Sugar Minott,
Major Organ And The Adding Machine,
Lee Hazlewood,
Lightning Bolt,
Slave,
Erykah Badu,
Graham Central Station,
Faust,
The Blues Magoos,
Oblivians,
Audionom,
Lucky Dragons,
Gang Gang Dance,
Accadde A,
The Flesh Eaters,
Brothers Johnson,
Index,
Eyeless In Gaza,
Joensuu 1685,
The Searchers,
Suicide,
X-102,
Kerri Chandler, Kerri Chandler, Kerri Chandler, Kerri Chandler.
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.