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 Libya and from Lyon.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1973.
I'm losing my edge.
To all the kids in Woodstock and London.
I'm losing my edge to the art-school Madrid 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the oboe sounds with much patience.
I was there when Robert Palmer 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 Grauzone to the jazz 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 Derrick May. All the underground hits.
All Donny Hathaway tracks. I heard you have a vinyl of every A Certain Ratio record on German import.
I heard that you have a white label of every seminal dance 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 synthesizer and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Anakelly record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Piero Umiliani,
Lebanon Hanover,
Throbbing Gristle,
Second Layer,
Gang of Four,
The Gun Club,
Ohio Players,
Angry Samoans,
Stockholm Monsters,
Avey Tare,
B.T. Express,
Matthew Halsall,
The J.B.'s,
Robert Hood,
Rhythim Is Rhythim,
The Move,
Agent Orange,
Q65,
Crime,
Susan Cadogan,
Monks,
Unwound,
Camouflage,
Barrington Levy,
Henry Cow,
The Searchers,
Roxy Music,
DeepChord presents Echospace,
The Fuzztones,
World's Most,
Soft Cell,
Boz Scaggs,
Eli Mardock,
Tim Buckley,
Black Pus,
John Cale,
Spandau Ballet,
Eric Dolphy,
Alton Ellis,
Dead Boys,
Pierre Henry,
Siglo XX,
Deakin,
Jimmy McGriff,
Bill Near,
Television Personalities,
Sandy B,
Matthew Bourne,
Subhumans,
The Dead C,
Wasted Youth,
Notorious BIG live in Amsterdam,
Eyeless In Gaza,
N.O.R.E. Featuring Pharrell,
Delon & Dalcan,
The Mojo Men,
Alice Coltrane,
Reuben Wilson,
Rekid,
Ice-T,
The Black Dice,
Radio Birdman, Radio Birdman, Radio Birdman, Radio Birdman.
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.