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 Edmonton.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1964 to 1977.
I'm losing my edge.
To all the kids in Lille and Halifax.
I'm losing my edge to the art-school Bologna 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the theremin 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 Magma to the grunge 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 Anthony Braxton. All the underground hits.
All Eddi Front tracks. I heard you have a vinyl of every Andrew Hill record on German import.
I heard that you have a white label of every seminal electroclash 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 a synthesizer and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Nick Cave & The Bad Seeds record.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wolf Eyes,
Wally Richardson,
Kurtis Blow,
Manfred Mann's Earth Band,
Cecil Taylor,
Sexual Harrassment,
Art Ensemble Of Chicago,
Chris & Cosey,
the Soft Cell,
Blossom Toes,
John Holt,
Alison Limerick,
The Real Kids,
The United States of America,
Q and Not U,
Archie Shepp,
DeepChord presents Echospace,
Oblivians,
Loose Ends,
Mandrill,
Silicon Teens,
Moss Icon,
Underground Resistance,
Livin' Joy,
L. Decosne,
The Grass Roots,
The Happenings,
James Chance & The Contortions,
Ultimate Spinach,
Johnny Clarke,
Wasted Youth,
Stiv Bators,
The Alarm Clocks,
Arcadia,
Bang on a Can All-Stars,
Television Personalities,
Grandmaster Flash and the Furious Five,
Tubeway Army,
Yazoo,
Arthur Verocai,
The Slackers,
Janne Schatter,
Lebanon Hanover,
It's A Beautiful Day,
Delta 5,
The Detroit Cobras,
Negative Approach,
Fat Boys,
Bobby Womack,
Sugar Minott,
the Association,
Gastr Del Sol,
Main Source,
Porter Ricks,
Grauzone,
Franke,
June of 44,
Red Lorry Yellow Lorry,
The Sonics,
Jerry Gold Smith,
Toni Rubio,
Subhumans,
Severed Heads,
Accadde A, Accadde A, Accadde A, Accadde A.
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.