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 Mozambique and from Beijing.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1971.
I'm losing my edge.
To all the kids in Madrid and Jakarta.
I'm losing my edge to the art-school Mexico City 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 chamberlin 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 Eli Mardock to the jazz 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 Easy Going. All the underground hits.
All James White and The Blacks tracks. I heard you have a vinyl of every The Electric Prunes record on German import.
I heard that you have a white label of every seminal rock 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 synthesizer and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Invisible record.
I hear that you and your band have sold your guitar and bought a sitar.
I hear that you and your band have sold your sitar and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joensuu 1685,
The Names,
Electric Prunes,
Girls At Our Best!,
Blake Baxter,
Minnie Riperton,
The Sound,
Livin' Joy,
Justin Hinds & The Dominoes,
Visionaries,LMNO, T- Love & Iriscience,
Todd Terry,
Ultimate Spinach,
China Crisis,
Icehouse,
The Monks,
Big Daddy Kane,
Glenn Branca,
Crime,
Severed Heads,
Oneida,
The Raincoats,
Pulsallama,
Nirvana,
The Jesus and Mary Chain,
Public Image Ltd.,
Kango’s Stein Massive,
Lou Reed & John Cale,
Rekid,
Cluster,
Von Mondo,
The Remains,
Ken Boothe,
Little Man,
The Standells,
Talk Talk,
The Gun Club,
Kas Product,
Yellowson,
Parry Music,
Wings,
Art Ensemble Of Chicago,
Sixth Finger,
Maurizio,
Kauko Röyhkä ja Narttu,
Peter & Gordon,
Thee Headcoats,
AZ,
These Immortal Souls,
The Birthday Party,
Richard Hell and the Voidoids,
Gian Franco Pienzio,
Lebanon Hanover,
The Saints,
Freddie Wadling,
48th St. Collective,
Susan Cadogan,
Neu!,
The Fall,
Don Cherry,
Ultra Naté,
Gary Puckett & The Union Gap,
The Shadows of Knight,
The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental 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.