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 Georgia and from Toronto.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1965 to 1972.
I'm losing my edge.
To all the kids in Halifax and Taipei.
I'm losing my edge to the art-school Milan 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 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 Radio Birdman to the jazz 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 The Mummies. All the underground hits.
All Kaleidoscope tracks. I heard you have a vinyl of every The Saints record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a synthesizer and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Röyhkä ja Rättö ja Lehtisalo record.
I hear that you and your band have sold your sitar and bought an oboe.
I hear that you and your band have sold your oboe and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jesper Dahlback,
Cameo,
Hashim,
Art Ensemble Of Chicago,
10cc,
Anthony Braxton,
Rites of Spring,
Deadbeat,
Dual Sessions,
Ash Ra Tempel,
Lalann,
The Fall,
F. McDonald,
D'Angelo,
Drexciya,
Brothers Johnson,
Crispian St. Peters,
Ossler,
Bang on a Can All-Stars,
Sixth Finger,
World's Most,
Eddi Front,
Grandmaster Flash,
Massinfluence,
Siouxsie and the Banshees,
Echospace,
Section 25,
Magazine,
Public Enemy,
The Wake,
Frankie Knuckles,
Jimmy McGriff,
Bob Dylan,
The Cowsills,
Sly & The Family Stone,
The Victims,
Marmalade,
Blake Baxter,
Gastr Del Sol,
Wire,
The Standells,
The Monochrome Set,
Fela Kuti,
Adolescents,
Can,
Gichy Dan,
Crash Course in Science,
Thinking Fellers Union Local 282,
Country Joe & The Fish,
Barrington Levy,
Marshall Jefferson,
Bluetip,
Ralphi Rosario,
Rekid,
Kayak,
Angels of Light & Akron/Family,
Lower 48,
Jeff Mills,
Barry Ungar,
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.