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 New Zealand and from Delhi.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Winnipeg and Columbus.
I'm losing my edge to the art-school Delhi 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 marimba sounds with much patience.
I was there when David Bowie 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 Albert Ayler 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 Bad Manners. All the underground hits.
All The New Christs tracks. I heard you have a vinyl of every Deakin 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 '50s cut and another box set from the '80s.
I hear you're buying a marimba and a spring reverb 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 mellotron and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tomorrow,
Royal Trux,
Harmonia,
Suburban Knight,
PIL,
The Jesus and Mary Chain,
Larry & the Blue Notes,
Gerry Rafferty,
Camberwell Now,
Rufus Thomas,
Theoretical Girls,
Selector Dub Narcotic,
Lyres,
Laurel Aitken,
Gil Scott-Heron and Jamie xx,
Soft Machine,
The Modern Lovers,
Justin Hinds & The Dominoes,
Cecil Taylor,
Jacques Brel,
David Axelrod,
Alison Limerick,
Lebanon Hanover,
Schoolly D,
Duran Duran,
Joe Finger,
Malaria!,
Barrington Levy,
The Real Kids,
Pole,
Sarah Menescal,
Porter Ricks,
Funky Four + One,
The Chocolate Watch Band,
Ornette Coleman,
Ash Ra Tempel,
Khruangbin,
Davy DMX,
Idris Muhammad,
Chris & Cosey,
Stockholm Monsters,
Kango’s Stein Massive,
Cal Tjader,
Ultimate Spinach,
Ohio Players,
Arab on Radar,
Maleditus Sound,
The Pretty Things,
David McCallum,
Babytalk,
Average White Band,
The Gories,
Deutsch Amerikanische Freundschaft,
Yusef Lateef,
Vaughan Mason & Crew,
Scan 7,
Surgeon,
DNA,
Mark Hollis,
Reagan Youth,
Chris Corsano,
Rowland S Howard / Lydia Lunch,
Maurizio, Maurizio, Maurizio, Maurizio.
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.