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 Uzbekistan and from Manila.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Hong Kong and Milan.
I'm losing my edge to the art-school Taipei 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 synthesizer 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 Pierre Henry to the dance kids.
I played it at the Astoria.
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 Dorothy Ashby. All the underground hits.
All U.S. Maple tracks. I heard you have a vinyl of every Intrusion record on German import.
I heard that you have a white label of every seminal crunk 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 an arpeggiator and a spring reverb 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 güiro and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dorothy Ashby,
Don Cherry,
The Tremeloes,
Panda Bear,
Boogie Down Productions,
The Grass Roots,
Jeru the Damaja,
Althea and Donna,
Radiopuhelimet,
Wally Richardson,
Barclay James Harvest,
Terry Callier,
Funkadelic,
48th St. Collective,
DNA,
Roxy Music,
The Saints,
Guru Guru,
The Seeds,
Zero Boys,
Maleditus Sound,
the Association,
Eric Copeland,
Alphaville,
Gong,
Skaos,
Lee Hazlewood,
Gang of Four,
Bobby Sherman,
Warsaw,
Deepchord,
Porter Ricks,
The Cure,
Scion,
Patti Smith,
Erykah Badu,
Das Ding,
The Cowsills,
The Victims,
Toni Rubio,
Talk Talk,
Ornette Coleman,
Visionaries,LMNO, T- Love & Iriscience,
Eli Mardock,
Reagan Youth,
Drexciya,
Chrome,
Bush Tetras,
Zapp,
Television,
Rowland S Howard / Lydia Lunch,
Davy DMX,
The Kinks,
The Doors,
Angry Samoans,
X-101,
Khruangbin,
The Smiths,
Janne Schatter,
Heavy D & The Boyz,
Robert Görl,
The Buckinghams,
Gil Scott-Heron and Jamie xx,
Glambeats Corp.,
Dual Sessions, Dual Sessions, Dual Sessions, Dual Sessions.
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.