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 Azerbaijan and from Milan.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1963 to 1977.
I'm losing my edge.
To all the kids in Johannesburg and Madrid.
I'm losing my edge to the art-school Lille 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 1973 at the first Television practice in a loft in New York.
I was working on the synthesizer 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 Terrestrial Tones to the grunge 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 The Vogues. All the underground hits.
All Super Lover Cee & Casanova Rud tracks. I heard you have a vinyl of every Basic Channel record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
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 Basic Channel record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Selecter,
Fifty Foot Hose,
Nik Kershaw,
Reuben Wilson,
Jeff Mills,
Erasure,
Albert Ayler,
Joey Negro,
Sonny Sharrock,
Mad Mike,
Unrelated Segments,
Pharaoh Sanders and the Fire Engines,
Sly & The Family Stone,
The Sound,
Gary Puckett & The Union Gap,
Sun Ra,
Model 500,
Letta Mbulu,
The Jesus and Mary Chain,
Rites of Spring,
Lakeside,
Traffic Nightmare,
Roy Ayers Ubiquity,
Rowland S Howard / Lydia Lunch,
Man Parrish,
Aloha Tigers,
Pussy Galore,
Marvin Gaye,
Saccharine Trust,
Fear,
Colin Newman,
Gil Scott-Heron & Brian Jackson,
Q65,
Idris Muhammad,
Camron Feat. Memphis Bleek And Beenie Seigel,
Warren Ellis,
Black Bananas,
Cluster,
Marshall Jefferson,
James Chance & The Contortions,
Spoonie Gee,
The Slackers,
Notorious Big And Bone Thugs,
Flash Fearless,
Pylon,
Grauzone,
Soft Machine,
The Doors,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Soft Cell,
Theoretical Girls,
Simply Red,
Johnny Osbourne,
Janne Schatter,
Marcia Griffiths,
Sällskapet,
The Gap Band,
48th St. Collective,
Mr. Review,
X-Ray Spex,
Grandmaster Flash,
Tubeway Army,
The Fuzztones, The Fuzztones, The Fuzztones, The Fuzztones.
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.