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 Swaziland and from Spokane.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1977.
I'm losing my edge.
To all the kids in Bologna and Toronto.
I'm losing my edge to the art-school Stockholm 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the arpeggiator sounds with much patience.
I was there when Lou Reed 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 Gian Franco Pienzio to the jazz kids.
I played it at the Hacienda.
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 Quadrant. All the underground hits.
All T. Rex tracks. I heard you have a vinyl of every Maleditus Sound 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 '50s cut and another box set from the '70s.
I hear you're buying a spring reverb and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Audionom record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Robert Wyatt,
Animal Collective,
Joe Finger,
The Move,
Los Fastidios,
Maurizio,
John Cale,
The Happenings,
Desert Stars,
DJ Style,
Masters at Work,
Sparks,
Alison Limerick,
Soulsonic Force,
Dave Gahan,
The Invisible,
Lou Reed,
Marine Girls,
Red Lorry Yellow Lorry,
Thee Headcoats,
Bronski Beat,
David McCallum,
Patti Smith,
Siglo XX,
Albert Ayler,
Fear,
The Stooges,
The Fall,
Ossler,
Warren Ellis,
Laurel Aitken,
The Doobie Brothers,
Rites of Spring,
Negative Approach,
The J.B.'s,
Can,
Scrapy,
London Community Gospel Choir,
Big Daddy Kane,
PIL,
Sticky Fingaz feat. Raekwon,
A Certain Ratio,
Ultra Naté,
Soft Machine,
Hot Snakes,
Bizarre Inc.,
Rakim,
Strawberry Alarm Clock,
De La Soul & Jungle Brothers,
Flamin' Groovies,
Sister Nancy,
Rosa Yemen,
Bluetip,
Glambeats Corp.,
Metal Thangz,
The Shadows of Knight,
Derrick Morgan,
Teenage Jesus and the Jerks,
Crime,
Faraquet,
Kaleidoscope,
The Cowsills,
Ajijia Myrayebe, Ajijia Myrayebe, Ajijia Myrayebe, Ajijia Myrayebe.
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.