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 Gabon and from Calgary.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in London.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Madrid and Stockholm.
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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the güiro 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 Doors to the punk 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 Max Romeo. All the underground hits.
All Country Joe & The Fish tracks. I heard you have a vinyl of every Alice Coltrane record on German import.
I heard that you have a white label of every seminal techno 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 linndrum and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Beasts of Bourbon record.
I hear that you and your band have sold your rhodes and bought a theremin.
I hear that you and your band have sold your theremin and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
AZ,
Jeff Lynne,
The Selecter,
The Mighty Diamonds,
Hoover,
Swell Maps,
Sugar Minott,
Al Stewart,
Rhythm & Sound,
Angels of Light & Akron/Family,
Nils Olav,
DJ Sneak,
kango's stein massive,
the Association,
Audionom,
Angry Samoans,
Roxy Music,
The Flesh Eaters,
The Buckinghams,
Susan Cadogan,
Pylon,
The Skatalites,
The Pretty Things,
The Wake,
Idris Muhammad,
The West Coast Pop Art Experimental Band,
DJ Style,
Grauzone,
Spandau Ballet,
Ken Boothe,
Black Bananas,
The Human League,
Half Japanese,
Neu!,
Soft Machine,
Art Ensemble Of Chicago,
Rakim,
Matthew Halsall,
Ossler,
Schoolly D,
The Smiths,
Gil Scott Heron,
Mad Mike,
Kas Product,
Joe Finger,
Michelle Simonal,
Ronan,
Subhumans,
Marshall Jefferson,
Chrome,
Moby Grape,
Ralphi Rosario,
Heaven 17,
Lee Hazlewood,
DeepChord presents Echospace,
Supertramp,
Fluxion,
Pantaleimon,
DNA,
Pharaoh Sanders and the Fire Engines,
Rhythim Is Rhythim,
T.S.O.L.,
Donald Byrd,
Drive Like Jehu, Drive Like Jehu, Drive Like Jehu, Drive Like Jehu.
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.