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 Vietnam and from London.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Manila and Toronto.
I'm losing my edge to the art-school Manila 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the sitar 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 Leonard Cohen to the disco 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 Juan Atkins. All the underground hits.
All Ultra Naté tracks. I heard you have a vinyl of every Average White Band record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a guitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Joe Finger record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Young Marble Giants,
The Seeds,
Idris Muhammad,
D'Angelo,
CMW,
Groovy Waters,
Wire,
Black Sheep,
Qualms,
The Birthday Party,
F. McDonald,
Second Layer,
Sun Ra Arkestra,
Ice-T,
Bang on a Can All-Stars,
PIL,
Black Flag,
Deakin,
Livin' Joy,
Jeff Mills,
Thinking Fellers Union Local 282,
Barclay James Harvest,
Isaac Hayes,
Flamin' Groovies,
Pere Ubu,
Inner City,
The Techniques,
Sonic Youth,
Avey Tare's Slasher Flicks,
Jesper Dahlback,
The Slackers,
Iggy Pop,
Throbbing Gristle,
Amon Düül,
Drive Like Jehu,
The Grass Roots,
Fort Wilson Riot,
The Gladiators,
Average White Band,
Jacques Brel,
Robert Wyatt,
Peter & Gordon,
UT,
Loose Ends,
The Move,
Al Stewart,
Vladislav Delay,
Crispy Ambulance,
Mark Hollis,
Matthew Bourne,
Duran Duran,
L. Decosne,
Ludus,
Electric Prunes,
Joe Finger,
Tres Demented,
Super Lover Cee & Casanova Rud,
London Community Gospel Choir,
the Soft Cell,
Siouxsie and the Banshees,
Larry & the Blue Notes,
Buzzcocks,
Bootsy's Rubber Band, Bootsy's Rubber Band, Bootsy's Rubber Band, Bootsy's Rubber Band.
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.