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 Malawi and from Paris.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Mumbai and Salvador.
I'm losing my edge to the art-school Glasgow 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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the 808 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 Black Bananas to the punk 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 Beasts of Bourbon. All the underground hits.
All Grauzone tracks. I heard you have a vinyl of every Porter Ricks record on German import.
I heard that you have a white label of every seminal funk 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 clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Maleditus Sound record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Technova,
Traffic Nightmare,
Hashim,
Kings Of Tomorrow,
LL Cool J,
T. Rex,
The Move,
The Happenings,
Grandmaster Flash,
Derrick May,
8 Eyed Spy,
Niagra,
The Toasters,
CMW,
Richard Hell and the Voidoids,
John Coltrane,
Mantronix,
the Normal,
The Neon Judgement,
Crispian St. Peters,
Siglo XX,
Lyres,
Scott Walker + Sunn O))),
Minutemen,
Rahsaan Roland Kirk,
FM Einheit,
X-101,
Kango’s Stein Massive,
Bauhaus,
Iggy Pop,
Angry Samoans,
Brand Nubian,
The Chocolate Watch Band,
The Misunderstood,
Idris Muhammad,
Chris & Cosey,
Crash Course in Science,
Byron Stingily,
Urselle,
The New Christs,
The Motions,
The Walker Brothers,
Art Ensemble Of Chicago,
Sparks,
Teenage Jesus and the Jerks,
Au Pairs,
Sunsets and Hearts,
Bizarre Inc.,
Make Up,
Joe Smooth,
Theoretical Girls,
Beasts of Bourbon,
Albert Ayler,
Andrew Ashong & Theo Parrish,
Danielle Patucci,
Sam Rivers,
The West Coast Pop Art Experimental Band,
Jeff Mills,
Captain Beefheart & His Magic Band,
Index,
EPMD,
Deutsch Amerikanische Freundschaft,
Bluetip, Bluetip, Bluetip, Bluetip.
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.