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 Seychelles and from Accra.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1961 to 1976.
I'm losing my edge.
To all the kids in Taipei and Seoul.
I'm losing my edge to the art-school Glasgow 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 1976 at the first Wire practice in a loft in Watford.
I was working on the chamberlin sounds with much patience.
I was there when Nile Rodgers 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 Eddi Front to the electroclash 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 Stockholm Monsters. All the underground hits.
All The Searchers tracks. I heard you have a vinyl of every Rekid 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 '70s cut and another box set from the '90s.
I hear you're buying an organ and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Kool Moe Dee record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Cale,
Suicide,
Dorothy Ashby,
Hasil Adkins,
Steve Hackett,
Roger Hodgson,
The Detroit Cobras,
Godley & Creme,
Swell Maps,
James White and The Blacks,
U.S. Maple,
Donald Byrd,
Alphaville,
UT,
Kenny Larkin,
Notorious BIG live in Amsterdam,
Radio Birdman,
Black Flag,
Glenn Branca,
Soft Machine,
Quadrant,
The Trojans,
Albert Ayler,
Rhythim Is Rhythim,
Lalann,
James Chance & The Contortions,
Intrusion,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Andrew Ashong & Theo Parrish,
Drexciya,
Inner City,
Johnny Osbourne,
Kas Product,
Robert Wyatt,
Average White Band,
Robert Hood,
Theoretical Girls,
Bobby Byrd,
Mary Jane Girls,
Chrome,
Dennis Brown,
Glambeats Corp.,
Dawn Penn,
Peter and Kerry,
Negative Approach,
The Peanut Butter Conspiracy,
Lightning Bolt,
Cheater Slicks,
Heaven 17,
Ken Boothe,
The Victims,
the Fania All-Stars,
The Sonics,
Sound Behaviour,
Eddi Front,
Sällskapet,
Excepter,
Ronnie Foster, Ronnie Foster, Ronnie Foster, Ronnie Foster.
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.