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 Italy and from Manila.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1968 to 1974.
I'm losing my edge.
To all the kids in Shanghai and Accra.
I'm losing my edge to the art-school Portland 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 oboe sounds with much patience.
I was there when Michael McDonald 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 Can to the jazz 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 Gong. All the underground hits.
All Wighnomy Brothers & Robag Wruhme tracks. I heard you have a vinyl of every The Leaves record on German import.
I heard that you have a white label of every seminal grunge 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 chamberlin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a JFA record.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crispy Ambulance,
The Cramps,
Make Up,
Grandmaster Flash and the Furious Five,
T.S.O.L.,
Piero Umiliani,
Big Daddy Kane,
Lee Hazlewood,
Angry Samoans,
Ossler,
48th St. Collective,
Rosa Yemen,
Art Ensemble Of Chicago,
Television,
Buzzcocks,
The Monks,
Desert Stars,
It's A Beautiful Day,
Flash Fearless,
L. Decosne,
Massinfluence,
Roy Ayers,
Theoretical Girls,
Sunsets and Hearts,
Urselle,
Lou Reed,
Vainqueur,
Sam Rivers,
Subhumans,
The Names,
Nico,
The Durutti Column,
Ultravox,
Aswad,
Von Mondo,
Supertramp,
Groovy Waters,
Sandy B,
The Sound,
The Royal Family And The Poor,
Surgeon,
FM Einheit,
Cecil Taylor,
London Community Gospel Choir,
Chrome,
Fugazi,
Connie Case,
Television Personalities,
Spandau Ballet,
Cybotron,
Visionaries,LMNO, T- Love & Iriscience,
Joey Negro,
Patti Smith,
Yellowson,
Moebius,
Joe Finger,
Camron Feat. Memphis Bleek And Beenie Seigel,
Public Image Ltd.,
Bill Wells, Bill Wells, Bill Wells, Bill Wells.
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.