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 United Kingdom and from Woodstock.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Tokyo and Winnipeg.
I'm losing my edge to the art-school Columbus 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 1975 at the first Throbbing Gristle practice in a loft in London.
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 Cluster 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 Beasts of Bourbon. All the underground hits.
All Index tracks. I heard you have a vinyl of every Dual Sessions 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 '50s cut and another box set from the '80s.
I hear you're buying a theremin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Bobby Womack record.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Jesus and Mary Chain,
Rowland S Howard / Lydia Lunch,
Warren Ellis,
Severed Heads,
The Doors,
The Gories,
The Doobie Brothers,
LL Cool J,
Leonard Cohen,
Section 25,
Teenage Jesus and the Jerks,
Country Teasers,
The Birthday Party,
The Kinks,
Crispian St. Peters,
Andrew Ashong & Theo Parrish,
Sun Ra Arkestra,
Black Bananas,
Pere Ubu,
Suburban Knight,
Angry Samoans,
Buzzcocks,
Fat Boys,
Rekid,
The Dirtbombs,
The Residents,
Flamin' Groovies,
Ajijia Myrayebe,
Amon Düül II,
Gil Scott Heron,
Big Daddy Kane,
Radiopuhelimet,
The Dead C,
The Neon Judgement,
Absolute Body Control,
London Community Gospel Choir,
The Barracudas,
Cluster,
Juan Atkins,
Procol Harum,
Robert Görl,
Charles Mingus,
The Saints,
Loose Ends,
The Last Poets,
Amazonics,
Robert Wyatt,
Notorious BIG live in Amsterdam,
Lou Christie,
Bobby Hutcherson,
Bronski Beat,
Lou Reed & John Cale,
China Crisis,
Flash Fearless,
Sällskapet,
Animal Collective,
Liaisons Dangereuses,
Idris Muhammad,
This Heat,
Chrome,
KRS-One,
Gang Starr,
Max Romeo, Max Romeo, Max Romeo, Max Romeo.
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.