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 Qatar and from Glasgow.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Madrid and Salvador.
I'm losing my edge to the art-school Seoul 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 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 Nas to the grime kids.
I played it at the Spitz.
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 Jerry's Kids. All the underground hits.
All James Chance & The Contortions tracks. I heard you have a vinyl of every the Human League record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a mellotron and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Nas record.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Anthony Braxton,
Soul II Soul,
Vladislav Delay,
The Fuzztones,
Wire,
Japan,
Derrick Morgan,
Black Sheep,
Cluster,
James White and The Blacks,
Steve Hackett,
Can,
Matthew Halsall,
Neil Young,
Kas Product,
Moss Icon,
Icehouse,
Wally Richardson,
Wolf Eyes,
Bronski Beat,
These Immortal Souls,
Khruangbin,
Talk Talk,
Kings Of Tomorrow,
Boogie Down Productions,
The Birthday Party,
the Germs,
cv313,
Radio Birdman,
Janne Schatter,
Be Bop Deluxe,
John Foxx,
Fluxion,
Absolute Body Control,
Nick Fraelich,
Richard Hell and the Voidoids,
Angels of Light & Akron/Family,
Aural Exciters,
Lungfish,
Panda Bear,
Arthur Verocai,
Model 500,
Mark Hollis,
Idris Muhammad,
The Black Dice,
Yusef Lateef,
the Fania All-Stars,
The Zeros,
Iggy Pop,
Tom Boy,
The Saints,
Kerrie Biddell,
Rites of Spring,
Barry Ungar,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Henry Cow,
Kango’s Stein Massive,
Mary Jane Girls,
Fat Boys,
The Techniques,
Franke,
Black Moon,
Peter and Kerry,
Rowland S Howard / Lydia Lunch, Rowland S Howard / Lydia Lunch, Rowland S Howard / Lydia Lunch, Rowland S Howard / Lydia Lunch.
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.