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 Venezuela and from Jakarta.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1969 to 1975.
I'm losing my edge.
To all the kids in New York and Manila.
I'm losing my edge to the art-school Madrid 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 güiro 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 Joey Negro to the grunge kids.
I played it at the Troubador.
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 Kenny Larkin. All the underground hits.
All Dual Sessions tracks. I heard you have a vinyl of every Infiniti 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 '70s.
I hear you're buying a clarinet and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Fad Gadget record.
I hear that you and your band have sold your marimba and bought an oboe.
I hear that you and your band have sold your oboe and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Unwound,
Bang On A Can,
Lindisfarne,
Livin' Joy,
Lonnie Liston Smith,
Crispy Ambulance,
Lightning Bolt,
Ohio Players,
Sad Lovers and Giants,
Black Pus,
The Velvet Underground,
Second Layer,
Flipper,
The Walker Brothers,
The Mighty Diamonds,
Technova,
The Moleskins,
Joensuu 1685,
The Last Poets,
The United States of America,
Electric Light Orchestra,
Captain Beefheart & His Magic Band,
Q and Not U,
Audionom,
Loose Ends,
Lungfish,
Organ,
Traffic Nightmare,
Khruangbin,
Heavy D & The Boyz,
EPMD,
Ronnie Foster,
Tears for Fears,
Desert Stars,
Rites of Spring,
The American Breed,
The Fire Engines,
Andrew Hill,
Basic Channel,
Flash Fearless,
Rotary Connection,
KRS-One,
The Skatalites,
Kenny Larkin,
Sam Rivers,
Echospace,
Marc Almond,
Moss Icon,
Deakin,
The Gladiators,
Matthew Halsall,
Magazine,
The Pop Group,
Brass Construction,
Bang on a Can All-Stars,
David Axelrod,
Mo-Dettes,
Isaac Hayes,
Drexciya,
James Chance & The Contortions,
Royal Trux,
The Dirtbombs,
Boogie Down Productions,
Joyce Sims,
Major Organ And The Adding Machine, Major Organ And The Adding Machine, Major Organ And The Adding Machine, Major Organ And The Adding Machine.
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.