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 Nepal and from Stockholm.
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 1966 to 1978.
I'm losing my edge.
To all the kids in Jakarta and Manchester.
I'm losing my edge to the art-school Portland 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the güiro sounds with much patience.
I was there when Nile Rodgers 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 Anthony Braxton to the dance 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 Terrestrial Tones. All the underground hits.
All Patti Smith tracks. I heard you have a vinyl of every Sugar Minott 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 '60s cut and another box set from the '70s.
I hear you're buying a theremin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a the Association record.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Audionom,
Lakeside,
Dave Gahan,
Erasure,
Mark Hollis,
Grandmaster Flash,
Marc Almond,
Gil Scott-Heron and Jamie xx,
Unrelated Segments,
Patti Smith,
Young Marble Giants,
Desert Stars,
Joyce Sims,
The Dirtbombs,
Jimmy McGriff,
Joy Division,
Scientists,
London Community Gospel Choir,
Swans,
Lungfish,
Marmalade,
Toni Rubio,
Chris Corsano,
T. Rex,
Liaisons Dangereuses,
Scott Walker,
Fort Wilson Riot,
The Invisible,
The Techniques,
The Offenders,
Intrusion,
Japan,
The Gories,
Joensuu 1685,
Public Image Ltd.,
Barry Ungar,
Amazonics,
Harry Pussy,
Mars,
K-Klass,
Cameo,
The Leaves,
Guru Guru,
Roy Ayers,
Bobby Sherman,
Television,
Can,
Radiopuhelimet,
Ultra Naté,
Neu!,
Boredoms,
Rahsaan Roland Kirk,
Newcleus,
the Soft Cell,
Malaria!,
Electric Light Orchestra,
Nico,
Moss Icon,
Robert Hood,
Circle Jerks,
Animal Collective,
Lindisfarne,
The Zeros, The Zeros, The Zeros, The Zeros.
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.