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 Latvia and from Milan.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Tokyo and Seoul.
I'm losing my edge to the art-school Philadelphia 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 spring reverb 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 Subhumans to the grime 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 Pantytec. All the underground hits.
All Marshall Jefferson tracks. I heard you have a vinyl of every The Jesus and Mary Chain 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 '80s.
I hear you're buying an oboe and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Loose Ends record.
I hear that you and your band have sold your synthesizer and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stiv Bators,
Pierre Henry,
Interpol,
The Sisters of Mercy,
Kerrie Biddell,
Sad Lovers and Giants,
Wings,
Index,
Alphaville,
Anthony Braxton,
the Association,
Pantaleimon,
Joey Negro,
The Blues Magoos,
the Slits,
Accadde A,
Yellowson,
New York Dolls,
Iggy Pop,
Oneida,
the Fania All-Stars,
Faraquet,
DNA,
Bang On A Can,
Soul II Soul,
Gary Puckett & The Union Gap,
Michelle Simonal,
Sonny Sharrock,
Harry Pussy,
The Seeds,
KRS-One,
Drive Like Jehu,
John Coltrane,
Idris Muhammad,
Organ,
Barclay James Harvest,
Smog,
Deutsch Amerikanische Freundschaft,
Pere Ubu,
Dark Day,
The Electric Prunes,
Kas Product,
The Monks,
The Fall,
Adolescents,
Gang Green,
The Real Kids,
The West Coast Pop Art Experimental Band,
Thinking Fellers Union Local 282,
The United States of America,
The Smiths,
David Axelrod,
The Moleskins,
Rites of Spring,
The Doors,
Second Layer,
Steve Hackett,
Scion,
Urselle,
Heavy D & The Boyz,
Radiopuhelimet,
Sällskapet,
Grandmaster Flash,
Warsaw,
The Star Department, The Star Department, The Star Department, The Star Department.
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.