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 Gambia and from Tehran.
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 1961 to 1973.
I'm losing my edge.
To all the kids in Tokyo and Madrid.
I'm losing my edge to the art-school Shanghai 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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the marimba 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 Jeff Mills to the rap kids.
I played it at the Roxy.
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 The Doors. All the underground hits.
All Jerry Gold Smith tracks. I heard you have a vinyl of every Lakeside 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 '60s cut and another box set from the '80s.
I hear you're buying a chamberlin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Terrestrial Tones record.
I hear that you and your band have sold your marimba and bought a güiro.
I hear that you and your band have sold your güiro and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Whodini,
John Holt,
Bill Wells,
X-Ray Spex,
Graham Central Station,
Anthony Braxton,
Todd Rundgren,
Faust,
Bauhaus,
Scott Walker,
The Blackbyrds,
The Skatalites,
Radiopuhelimet,
Juan Atkins,
Manfred Mann's Earth Band,
Barbara Tucker,
Rosa Yemen,
Television Personalities,
FM Einheit,
Bobby Hutcherson,
Bizarre Inc.,
Sarah Menescal,
Brothers Johnson,
Justin Hinds & The Dominoes,
Avey Tare,
Kauko Röyhkä ja Narttu,
Barclay James Harvest,
Kango’s Stein Massive,
Jandek,
The Cowsills,
Ituana,
Blossom Toes,
Susan Cadogan,
Absolute Body Control,
Maleditus Sound,
Joey Negro,
The Flesh Eaters,
Nas,
Eurythmics,
Iggy Pop,
Orchestral Manoeuvres in the Dark,
Marine Girls,
Minutemen,
Visionaries,LMNO, T- Love & Iriscience,
Michelle Simonal,
Be Bop Deluxe,
Tomorrow,
Talk Talk,
Charles Mingus,
48th St. Collective,
Cybotron,
The Doobie Brothers,
Interpol,
The Leaves,
Jesper Dahlbäck,
Henry Cow,
Eric B and Rakim,
Franke,
This Heat,
The Durutti Column,
Lizzy Mercier Descloux,
Audionom, Audionom, Audionom, Audionom.
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.