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 Vietnam and from Columbus.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1975.
I'm losing my edge.
To all the kids in Lagos and Winnipeg.
I'm losing my edge to the art-school Paris 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 arpeggiator 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 Masters at Work to the funk kids.
I played it at the Roxy.
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 Albert Ayler. All the underground hits.
All Ronan tracks. I heard you have a vinyl of every Pere Ubu record on German import.
I heard that you have a white label of every seminal disco 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 sitar and are throwing your macbook out the window because you want to make something real. You want to make a Lizzy Mercier Descloux record.
I hear that you and your band have sold your linndrum and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Andrew Hill,
The Trojans,
Bang On A Can,
The Gun Club,
Metal Thangz,
Yaz,
Nas,
LL Cool J,
De La Soul & Jungle Brothers,
The Golliwogs,
Marine Girls,
John Coltrane,
Black Pus,
Barclay James Harvest,
Subhumans,
T. Rex,
The Star Department,
Gil Scott-Heron and Jamie xx,
Model 500,
B.T. Express,
Freddie Wadling,
Avey Tare's Slasher Flicks,
Eurythmics,
Scratch Acid,
Brass Construction,
Public Image Ltd.,
The Music Machine,
Thee Headcoats,
Sun Ra Arkestra,
Television Personalities,
Gil Scott-Heron & Brian Jackson,
Bobby Byrd,
Flash Fearless,
Letta Mbulu,
MDC,
The Doors,
Q65,
Captain Beefheart & His Magic Band,
Wire,
Stiv Bators,
New Order,
Heaven 17,
Drive Like Jehu,
Stetsasonic,
The Zeros,
Unrelated Segments,
Tomorrow,
Joyce Sims,
Black Bananas,
Lower 48,
Man Parrish,
Chris & Cosey,
Marc Romboy vs. Booka Shade,
Gian Franco Pienzio,
Zero Boys,
Reagan Youth,
The Associates,
Lonnie Liston Smith,
Sun City Girls,
Notorious Big And Bone Thugs,
James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions.
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.