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 Burundi and from New York.
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 1967 to 1976.
I'm losing my edge.
To all the kids in London and New York.
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 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 U.S. Maple to the dance kids.
I played it at the Astoria.
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 Slick Rick. All the underground hits.
All Don Cherry tracks. I heard you have a vinyl of every Aaron Thompson 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 '80s cut and another box set from the '70s.
I hear you're buying a mellotron and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Röyhkä ja Rättö ja Lehtisalo record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Flipper,
The Cramps,
Radiohead,
June of 44,
The Sound,
The Grass Roots,
Cymande,
Swell Maps,
Franke,
The Offenders,
The Pretty Things,
Scott Walker,
Derrick May,
Wolf Eyes,
Roger Hodgson,
Hardrive,
Animal Collective,
Alison Limerick,
Arcadia,
Freddie Wadling,
Quantec,
D'Angelo,
Eden Ahbez,
Amazonics,
Anakelly,
The Cosmic Jokers,
Zero Boys,
Lafayette Afro Rock Band,
Stetsasonic,
Dawn Penn,
La Düsseldorf,
James White and The Blacks,
Robert Wyatt,
Warren Ellis,
Jimmy McGriff,
Danielle Patucci,
Matthew Halsall,
10cc,
Sixth Finger,
New Order,
Wasted Youth,
Eric B and Rakim,
John Holt,
Intrusion,
Average White Band,
Cluster,
Symarip,
Gil Scott Heron,
The Dirtbombs,
Mr. Review,
Gastr Del Sol,
Marvin Gaye,
Tropical Tobacco,
The Music Machine,
Amon Düül II,
The American Breed,
Lou Reed & John Cale,
Johnny Clarke,
Kool Moe Dee,
Deadbeat,
Vladislav Delay,
Kerri Chandler,
Teenage Jesus and the Jerks, Teenage Jesus and the Jerks, Teenage Jesus and the Jerks, Teenage Jesus and the Jerks.
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.