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 Swaziland and from Salvador.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Jakarta and Columbus.
I'm losing my edge to the art-school Woodstock 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 1983 at the first Lewis practice in a loft in Vancouver.
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 The Blues Magoos to the rap kids.
I played it at the Spitz.
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 Sonics. All the underground hits.
All Sister Nancy tracks. I heard you have a vinyl of every Warsaw record on German import.
I heard that you have a white label of every seminal punk 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 rhodes and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Moss Icon record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Louis and Bebe Barron,
Faust,
Bang on a Can All-Stars,
Sonny Sharrock,
H. Thieme,
Arthur Verocai,
Young Marble Giants,
The Monochrome Set,
Radiopuhelimet,
Lou Reed,
Newcleus,
AZ,
Alton Ellis,
FM Einheit,
Cheater Slicks,
Babytalk,
Magma,
Jandek,
The Mojo Men,
Junior Murvin,
Donald Byrd,
Visage,
Kango’s Stein Massive,
The Shadows of Knight,
Outsiders,
X-101,
New Age Steppers,
The Motions,
Lizzy Mercier Descloux,
Rakim,
Rekid,
Harpers Bizarre,
Suburban Knight,
Crime,
Blancmange,
Gabor Szabo,
Quadrant,
Barry Ungar,
Terrestrial Tones,
Juan Atkins,
Arcadia,
Howard Jones,
Stiv Bators,
Siouxsie and the Banshees,
Dennis Brown,
Ituana,
Lou Reed & John Cale,
The Jesus and Mary Chain,
Technova,
Tom Boy,
The Fire Engines,
8 Eyed Spy,
Black Pus,
L. Decosne,
The Zeros,
The Move,
Gil Scott-Heron and Jamie xx,
Amazonics,
Terry Callier,
Panda Bear,
Crispian St. Peters,
The Invisible,
Gang Gang Dance,
Art Ensemble Of Chicago, Art Ensemble Of Chicago, Art Ensemble Of Chicago, Art Ensemble Of Chicago.
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.