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 Tanzania and from Accra.
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 1969 to 1974.
I'm losing my edge.
To all the kids in New York and Jakarta.
I'm losing my edge to the art-school Sao Paulo 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the spring reverb 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 Tommy Roe to the jazz 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 Section 25. All the underground hits.
All The Men They Couldn't Hang tracks. I heard you have a vinyl of every Judy Mowatt record on German import.
I heard that you have a white label of every seminal jazz 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 guitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Pylon record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Vainqueur,
David McCallum,
Jimmy McGriff,
David Bowie,
the Slits,
Robert Wyatt,
Clear Light,
Bush Tetras,
Goldenarms,
Nation of Ulysses,
Khruangbin,
Bauhaus,
Depeche Mode,
Organ,
R.M.O.,
Ash Ra Tempel,
Lee Hazlewood,
Notorious Big And Bone Thugs,
James Chance & The Contortions,
The Motions,
Ultra Naté,
Ajijia Myrayebe,
Colin Newman,
Arab on Radar,
Kenny Larkin,
Visage,
Al Stewart,
Public Image Ltd.,
Fat Boys,
Cluster,
Mission of Burma,
Jeff Lynne,
Basic Channel,
Marmalade,
Marc Almond,
CMW,
Eve St. Jones,
Mark Hollis,
Curtis Mayfield,
The New Christs,
The Pretty Things,
Selector Dub Narcotic,
Fela Kuti,
Fatback Band,
Cymande,
Minny Pops,
Cecil Taylor,
Average White Band,
The Golliwogs,
Aswad,
Los Fastidios,
Mandrill,
Soft Machine,
Agent Orange,
Graham Central Station,
ABBA,
Flamin' Groovies,
The Music Machine,
The Zeros,
Sixth Finger,
Deepchord,
Monolake, Monolake, Monolake, Monolake.
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.