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 Lithuania and from Mumbai.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Lille and Glasgow.
I'm losing my edge to the art-school Beijing 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the linndrum 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 Notorious BIG live in Amsterdam 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 Sixth Finger. All the underground hits.
All The Blackbyrds tracks. I heard you have a vinyl of every Skriet 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 '50s cut and another box set from the '90s.
I hear you're buying a spring reverb and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Soft Machine record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bill Near,
Camouflage,
Joey Negro,
Josef K,
Teenage Jesus and the Jerks,
Lyres,
Outsiders,
Strawberry Alarm Clock,
Boz Scaggs,
Drexciya,
Bobby Womack,
Second Layer,
Major Organ And The Adding Machine,
Eyeless In Gaza,
Sparks,
Moebius,
Television,
Amazonics,
Ultra Naté,
Bob Dylan,
Danielle Patucci,
Neil Young,
The Index,
Jesper Dahlback,
Banda Bassotti,
Jeru the Damaja,
Roxy Music,
Stetsasonic,
Tim Buckley,
Lucky Dragons,
Popol Vuh,
Röyhkä ja Rättö ja Lehtisalo,
The New Christs,
The Music Machine,
Kayak,
Crooked Eye,
Minutemen,
Orchestral Manoeuvres in the Dark,
Basic Channel,
Camberwell Now,
Panda Bear,
John Holt,
Dual Sessions,
Fear,
Chrome,
Jerry's Kids,
Public Enemy,
Stockholm Monsters,
Bauhaus,
Maurizio,
The Raincoats,
Bang On A Can,
Boredoms,
Barbara Tucker,
Ice-T,
Interpol,
Stereo Dub,
Altered Images,
Aswad,
The Smiths, The Smiths, The Smiths, The Smiths.
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.