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 Brunei and from New York.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Winnipeg and Jakarta.
I'm losing my edge to the art-school Hong Kong 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 arpeggiator 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 Joensuu 1685 to the rap kids.
I played it at the Troubador.
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 Warren Ellis. All the underground hits.
All Scion tracks. I heard you have a vinyl of every Clear Light record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Jandek record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator 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?
Susan Cadogan,
The West Coast Pop Art Experimental Band,
The Birthday Party,
The Associates,
The Wake,
Amon Düül II,
China Crisis,
F. McDonald,
Interpol,
Cal Tjader,
Rod Modell,
Can,
The Chocolate Watch Band,
Circle Jerks,
Hasil Adkins,
Yellowson,
Max Romeo,
the Swans,
Drexciya,
Stereo Dub,
Oppenheimer Analysis,
Television,
These Immortal Souls,
Delon & Dalcan,
Country Teasers,
The Names,
Faust,
Rites of Spring,
Donny Hathaway,
Eric B and Rakim,
Chris & Cosey,
The Modern Lovers,
Lucky Dragons,
Sun Ra Arkestra,
Eli Mardock,
B.T. Express,
Avey Tare & Kría Brekkan,
the Fania All-Stars,
The Monks,
Super Lover Cee & Casanova Rud,
Nick Cave & The Bad Seeds,
The Stooges,
Quando Quango,
Brass Construction,
Bill Wells,
Ultimate Spinach,
Mo-Dettes,
Desert Stars,
Jeff Mills,
Crash Course in Science,
Malaria!,
Donald Byrd,
Sad Lovers and Giants,
Livin' Joy,
Arthur Verocai,
Morten Harket,
Rufus Thomas,
Nation of Ulysses,
Gil Scott-Heron & Brian Jackson,
The Detroit Cobras,
AZ,
Pet Shop Boys,
James White and The Blacks, James White and The Blacks, James White and The Blacks, James White and The Blacks.
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.