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 Cyprus and from Mexico City.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1971.
I'm losing my edge.
To all the kids in Milan and Lyon.
I'm losing my edge to the art-school Accra 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the marimba 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 Vainqueur 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 Eddi Front. All the underground hits.
All Quantec tracks. I heard you have a vinyl of every Angry Samoans 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 '60s cut and another box set from the '70s.
I hear you're buying a clarinet and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Scratch Acid record.
I hear that you and your band have sold your oboe and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Chris & Cosey,
Von Mondo,
Teenage Jesus and the Jerks,
Black Flag,
Laurel Aitken,
Au Pairs,
Erasure,
CMW,
Black Pus,
Todd Rundgren,
Panda Bear,
Throbbing Gristle,
Pulsallama,
Country Joe & The Fish,
Dark Day,
Electric Light Orchestra,
Heaven 17,
Niagra,
Isaac Hayes,
The Smiths,
Rakim,
The Associates,
Reuben Wilson,
Joyce Sims,
Gian Franco Pienzio,
Byron Stingily,
Sex Pistols,
Marc Almond,
Warren Ellis,
Rufus Thomas,
Frankie Knuckles,
La Düsseldorf,
Wings,
Masters at Work,
Echo & the Bunnymen,
Bluetip,
EPMD,
Louis and Bebe Barron,
Henry Cow,
Harpers Bizarre,
Clear Light,
the Normal,
Wire,
Lou Reed,
Crash Course in Science,
Fela Kuti,
Wighnomy Brothers & Robag Wruhme,
Mandrill,
Pharaoh Sanders and the Fire Engines,
Eve St. Jones,
Unrelated Segments,
Spandau Ballet,
Gil Scott Heron,
the Germs,
Be Bop Deluxe,
Pylon,
Dennis Brown,
Model 500,
Freddie Wadling,
Bauhaus,
Matthew Halsall,
The Human League,
Trumans Water,
The Index, The Index, The Index, The Index.
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.