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 Albania and from Bremen.
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 1976.
I'm losing my edge.
To all the kids in Mexico City and Philadelphia.
I'm losing my edge to the art-school Bremen 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 harpsichord 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 Magma 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 Negative Approach. All the underground hits.
All Accadde A tracks. I heard you have a vinyl of every Adolescents record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a 808 and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Avey Tare's Slasher Flicks record.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Barclay James Harvest,
Michelle Simonal,
Kerri Chandler,
Model 500,
Oneida,
Althea and Donna,
The United States of America,
Sight & Sound,
The Jesus and Mary Chain,
Flash Fearless,
Soft Machine,
Captain Beefheart & His Magic Band,
UT,
Outsiders,
Art Ensemble Of Chicago,
The Blackbyrds,
Radiopuhelimet,
Faraquet,
Bobby Hutcherson,
The Walker Brothers,
Kings Of Tomorrow,
Jeff Lynne,
The Wake,
Reagan Youth,
Guru Guru,
The Cure,
Television,
Carl Craig,
Dual Sessions,
Anakelly,
Bauhaus,
Con Funk Shun,
Pulsallama,
Kauko Röyhkä ja Narttu,
Fort Wilson Riot,
Liaisons Dangereuses,
Matthew Halsall,
Tears for Fears,
Joyce Sims,
Sam Rivers,
X-101,
Strawberry Alarm Clock,
Sixth Finger,
Surgeon,
the Slits,
The Techniques,
Moss Icon,
Andrew Ashong & Theo Parrish,
Rod Modell,
Rakim,
Marine Girls,
Brick,
Hardrive,
The Skatalites,
The Human League,
The Selecter,
The Chocolate Watch Band,
Black Moon,
Anthony Braxton,
Lou Reed, Lou Reed, Lou Reed, Lou Reed.
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.