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 Tajikistan and from Lagos.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1962 to 1971.
I'm losing my edge.
To all the kids in Madrid and Calgary.
I'm losing my edge to the art-school New York 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the theremin 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 The Walker Brothers to the jazz 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 Matthew Halsall. All the underground hits.
All Panda Bear tracks. I heard you have a vinyl of every Roger Hodgson 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 snare and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Laurel Aitken record.
I hear that you and your band have sold your snare and bought a sitar.
I hear that you and your band have sold your sitar and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bootsy Collins,
Jesper Dahlbäck,
Warsaw,
Lou Reed,
Essential Logic,
Thinking Fellers Union Local 282,
Rowland S Howard / Lydia Lunch,
Mr. Review,
Pole,
Bill Near,
The Monochrome Set,
Mo-Dettes,
Soft Machine,
Leonard Cohen,
Deakin,
The Kinks,
Infiniti,
Oppenheimer Analysis,
LL Cool J,
Royal Trux,
The Misunderstood,
The Detroit Cobras,
The Velvet Underground,
Boogie Down Productions,
Cal Tjader,
Das Ding,
John Holt,
Barbara Tucker,
Grandmaster Flash and the Furious Five,
Intrusion,
Liaisons Dangereuses,
Supertramp,
Television,
China Crisis,
The Fortunes,
Drive Like Jehu,
Severed Heads,
The Standells,
Andrew Hill,
Ossler,
Crime,
Technova,
Black Flag,
Robert Görl,
Steve Hackett,
Jacob Miller,
Sam Rivers,
Sun City Girls,
Marc Romboy vs. Booka Shade,
Rahsaan Roland Kirk,
Adolescents,
James White and The Blacks,
Thee Headcoats,
John Lydon,
Gregory Isaacs,
MDC,
The Gories,
Ajijia Myrayebe,
Pylon,
U.S. Maple,
Marcia Griffiths, Marcia Griffiths, Marcia Griffiths, Marcia Griffiths.
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.