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 Panama 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 1979.
I'm losing my edge.
To all the kids in Winnipeg and Shanghai.
I'm losing my edge to the art-school Mumbai 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the arpeggiator 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 Shuggie Otis to the techno 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 Zero Boys. All the underground hits.
All June of 44 tracks. I heard you have a vinyl of every Throbbing Gristle record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a clarinet and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Grandmaster Flash and the Furious Five record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crash Course in Science,
Barrington Levy,
The Fuzztones,
James Chance & The Contortions,
The Birthday Party,
Pharoah Sanders,
Zero Boys,
Jandek,
Nils Olav,
48th St. Collective,
Bauhaus,
Steve Hackett,
Young Marble Giants,
Chris & Cosey,
Don Cherry,
Royal Trux,
F. McDonald,
Sun Ra,
Lee Hazlewood,
Basic Channel,
Country Teasers,
Soulsonic Force,
B.T. Express,
The Alarm Clocks,
Joy Division,
Rufus Thomas,
Gang Green,
Amazonics,
Ajijia Myrayebe,
Bad Manners,
The Searchers,
One Last Wish,
The Chocolate Watch Band,
Deadbeat,
World's Most,
Simply Red,
Albert Ayler,
Outsiders,
Slave,
The Seeds,
Theoretical Girls,
Zapp,
the Slits,
Isaac Hayes,
Tommy Roe,
Scott Walker + Sunn O))),
Neil Young & Crazy Horse,
the Normal,
Adolescents,
Camouflage,
The Raincoats,
Circle Jerks,
Bobby Hutcherson,
Yazoo,
Oblivians,
Black Bananas,
Todd Rundgren,
Icehouse,
The Men They Couldn't Hang,
Black Sheep,
Glambeats Corp., Glambeats Corp., Glambeats Corp., Glambeats Corp..
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.