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 Botswana and from Delhi.
But I was there.
I was there in 1983.
I was there at the first Bronski Beat show in Brixton.
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 1977.
I'm losing my edge.
To all the kids in Portland and Stockholm.
I'm losing my edge to the art-school Mexico City 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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the rhodes sounds with much patience.
I was there when Holger Czukay 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 T. Rex to the jazz kids.
I played it at the Crocodile.
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 Audionom. All the underground hits.
All Pantaleimon tracks. I heard you have a vinyl of every Charles Mingus record on German import.
I heard that you have a white label of every seminal funk 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 sitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Nico record.
I hear that you and your band have sold your 808 and bought a marimba.
I hear that you and your band have sold your marimba and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Danielle Patucci,
Ituana,
Ultimate Spinach,
Faust,
Rhythm & Sound,
Robert Hood,
Pantaleimon,
Gabor Szabo,
The United States of America,
Barbara Tucker,
The Motions,
Kool Moe Dee,
Monks,
Camouflage,
The Kinks,
Spandau Ballet,
The Mojo Men,
DeepChord presents Echospace,
Byron Stingily,
Andrew Ashong & Theo Parrish,
Panda Bear,
the Association,
The Seeds,
The Residents,
Ultramagnetic MC's,
Cymande,
Matthew Halsall,
Cecil Taylor,
Swell Maps,
Letta Mbulu,
Lower 48,
Barry Ungar,
The Sound,
Q65,
Minnie Riperton,
Rufus Thomas,
The Young Rascals,
The Barracudas,
Black Pus,
Darondo,
Kaleidoscope,
Khruangbin,
The Angels of Light,
Tommy Roe,
Sun Ra Arkestra,
The Dead C,
the Sonics,
Connie Case,
T.S.O.L.,
Gil Scott Heron,
the Germs,
Blossom Toes,
Soft Cell,
Rakim,
Albert Ayler,
Patti Smith,
Bootsy's Rubber Band,
Fluxion,
Laurel Aitken,
Notorious BIG live in Amsterdam,
Negative Approach, Negative Approach, Negative Approach, Negative Approach.
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.