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 Cambodia and from Johannesburg.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 Mexico City and Copenhagen.
I'm losing my edge to the art-school Columbus 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 1978 at the first Visage practice in a loft in London.
I was working on the spring reverb sounds with much patience.
I was there when Captain Beefheart 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 Pulsallama to the punk kids.
I played it at Cafe Wha.
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 the Sonics. All the underground hits.
All Traffic Nightmare tracks. I heard you have a vinyl of every Bill Near record on German import.
I heard that you have a white label of every seminal disco 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 synthesizer and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The J.B.'s record.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ronan,
Godley & Creme,
Monolake,
Fort Wilson Riot,
Interpol,
Essential Logic,
Sarah Menescal,
Robert Görl,
Ultimate Spinach,
Rufus Thomas,
Traffic Nightmare,
Shoche,
Jeff Mills,
DNA,
Donny Hathaway,
Barbara Tucker,
Sex Pistols,
Crime,
Yellowson,
The Invisible,
Gabor Szabo,
Mo-Dettes,
Procol Harum,
Ultra Naté,
The J.B.'s,
Cymande,
Wolf Eyes,
Swans,
T. Rex,
Electric Prunes,
Danielle Patucci,
Parry Music,
The Fugs,
Eli Mardock,
Delon & Dalcan,
Vladislav Delay,
Blake Baxter,
Ash Ra Tempel,
Liliput,
Roy Ayers,
Brothers Johnson,
Archie Shepp,
Magazine,
Jacob Miller,
Tomorrow,
Eric Dolphy,
Big Daddy Kane,
Talk Talk,
The Saints,
Sonny Sharrock,
The Alarm Clocks,
Alton Ellis,
New Order,
Ossler,
Public Enemy,
Quantec,
Lower 48,
The Doobie Brothers,
Bang On A Can,
The Fire Engines,
The Five Americans, The Five Americans, The Five Americans, The Five Americans.
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.