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 Burundi and from Taipei.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1961 to 1976.
I'm losing my edge.
To all the kids in Bremen and Manchester.
I'm losing my edge to the art-school Sao Paulo 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 sitar sounds with much patience.
I was there when Robert Palmer 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 Robert Hood to the jazz 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 Alice Coltrane. All the underground hits.
All Sad Lovers and Giants tracks. I heard you have a vinyl of every The Royal Family And The Poor record on German import.
I heard that you have a white label of every seminal punk 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 spring reverb and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Aswad record.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear that you and your band have sold your theremin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bobby Hutcherson,
John Holt,
U.S. Maple,
a-ha,
Lou Reed & Metallica,
Popol Vuh,
Jeru the Damaja,
Mo-Dettes,
Prince Buster,
ABC,
Joey Negro,
Oneida,
Skaos,
Roger Hodgson,
Cymande,
Pole,
Erykah Badu,
Guru Guru,
L. Decosne,
Kaleidoscope,
Leonard Cohen,
Wire,
Spandau Ballet,
Gang Gang Dance,
Robert Wyatt,
Jeff Mills,
Ultra Naté,
Notorious Big And Bone Thugs,
Röyhkä ja Rättö ja Lehtisalo,
Interpol,
The Raincoats,
Fifty Foot Hose,
Pylon,
Mandrill,
The Smoke,
The Real Kids,
Wighnomy Brothers & Robag Wruhme,
Bobbi Humphrey,
Mantronix,
Lizzy Mercier Descloux,
Jacques Brel,
Electric Prunes,
Cabaret Voltaire,
Massinfluence,
Bang on a Can All-Stars,
The Wake,
Crispy Ambulance,
Nils Olav,
Fatback Band,
Major Organ And The Adding Machine,
David McCallum,
Quando Quango,
Animal Collective,
The Mighty Diamonds,
Lower 48,
Brand Nubian,
Suburban Knight,
Brick,
Eric Copeland,
cv313,
Lindisfarne,
Shuggie Otis,
Arab on Radar,
Soul II Soul, Soul II Soul, Soul II Soul, Soul II Soul.
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.