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 Antigua and from Lyon.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 Tokyo and Beijing.
I'm losing my edge to the art-school Johannesburg 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 oboe sounds with much patience.
I was there when David Bowie 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 Bob Dylan 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 The Victims. All the underground hits.
All Eric Copeland tracks. I heard you have a vinyl of every Depeche Mode record on German import.
I heard that you have a white label of every seminal crunk 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 marimba and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a JFA record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bang On A Can,
Cameo,
Notorious BIG live in Amsterdam,
Avey Tare,
Fad Gadget,
Spoonie Gee,
Roxette,
The United States of America,
The Sisters of Mercy,
Traffic Nightmare,
T.S.O.L.,
Slick Rick,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Sex Pistols,
Dave Gahan,
Barbara Tucker,
Soft Machine,
Country Joe & The Fish,
Sun Ra,
The Gun Club,
Funkadelic,
Maleditus Sound,
Roger Hodgson,
The Golliwogs,
Chris Corsano,
Captain Beefheart & His Magic Band,
Ludus,
Soulsonic Force,
Red Lorry Yellow Lorry,
X-Ray Spex,
The Moody Blues,
Silicon Teens,
Intrusion,
Pete Rock & C.L. Smooth,
The Cramps,
U.S. Maple,
Joensuu 1685,
Von Mondo,
Kool G Rap & DJ Polo,
Andrew Ashong & Theo Parrish,
Rowland S Howard / Lydia Lunch,
Khruangbin,
Kool Moe Dee,
Throbbing Gristle,
Lafayette Afro Rock Band,
Chrome,
X-102,
Peter & Gordon,
Susan Cadogan,
KRS-One,
The Fire Engines,
Section 25,
Harry Pussy,
Kayak,
Terry Callier,
the Sonics,
Johnny Osbourne,
Franke,
The Invisible,
Flash Fearless,
Motorama,
Andrew Hill, Andrew Hill, Andrew Hill, Andrew Hill.
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.