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 Syria and from Johannesburg.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1972.
I'm losing my edge.
To all the kids in Tokyo and Sao Paulo.
I'm losing my edge to the art-school Seoul 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the organ sounds with much patience.
I was there when Captain Beefheart 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 Symarip to the techno 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 Donald Byrd. All the underground hits.
All Simply Red tracks. I heard you have a vinyl of every Eric Dolphy record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a theremin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Vaughan Mason & Crew record.
I hear that you and your band have sold your chamberlin and bought an organ.
I hear that you and your band have sold your organ and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jesper Dahlbäck,
Youth Brigade,
Echospace,
The Music Machine,
The Pop Group,
Lebanon Hanover,
Siglo XX,
Underground Resistance,
Quadrant,
Fad Gadget,
Marc Romboy vs. Booka Shade,
Jandek,
Cheater Slicks,
Oneida,
K-Klass,
Eli Mardock,
Deadbeat,
Cybotron,
Little Man,
Donald Byrd,
The Kinks,
The Seeds,
The Golliwogs,
Strawberry Alarm Clock,
Agent Orange,
The Happenings,
H. Thieme,
T. Rex,
Mantronix,
L. Decosne,
The Skatalites,
Country Teasers,
Masters at Work,
Black Flag,
Terry Callier,
8 Eyed Spy,
Tomorrow,
Aswad,
Thee Headcoats,
Cameo,
Roger Hodgson,
Liaisons Dangereuses,
Smog,
Dual Sessions,
David Bowie,
The Cosmic Jokers,
Hoover,
Pete Rock & C.L. Smooth,
DJ Sneak,
Don Cherry,
The Moody Blues,
Echo & the Bunnymen,
Colin Newman,
Talk Talk,
Traffic Nightmare,
Judy Mowatt,
Kas Product,
Erasure,
Avey Tare's Slasher Flicks,
Pagans,
The Monks, The Monks, The Monks, The Monks.
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.