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 Liechtenstein and from Shanghai.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1966 to 1979.
I'm losing my edge.
To all the kids in Manila and Philadelphia.
I'm losing my edge to the art-school Taipei 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 Mistral practice in a loft in Amsterdam.
I was working on the linndrum sounds with much patience.
I was there when Donald Fagen 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 Ash Ra Tempel to the rap kids.
I played it at the Troubador.
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 Black Pus. All the underground hits.
All Sugar Minott tracks. I heard you have a vinyl of every Unrelated Segments 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 a clarinet and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Deepchord record.
I hear that you and your band have sold your guitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Residents,
Talk Talk,
Sam Rivers,
Rosa Yemen,
Faust,
Joey Negro,
MC5,
Warsaw,
Mark Hollis,
The Fuzztones,
Q and Not U,
Tom Boy,
Letta Mbulu,
Average White Band,
The Pop Group,
Minutemen,
Eyeless In Gaza,
Eric B and Rakim,
Maleditus Sound,
The Chocolate Watch Band,
10cc,
Rotary Connection,
Avey Tare & Kría Brekkan,
Infiniti,
R.M.O.,
the Association,
Soft Cell,
Bobby Byrd,
Rites of Spring,
Rakim,
K-Klass,
Henry Cow,
Flipper,
Hot Snakes,
Silicon Teens,
Bad Manners,
Cabaret Voltaire,
Skaos,
Scion,
The American Breed,
John Holt,
Man Parrish,
Interpol,
The Skatalites,
Kerrie Biddell,
Camberwell Now,
Sad Lovers and Giants,
Sound Behaviour,
Technova,
Easy Going,
Toni Rubio,
Tropical Tobacco,
Qualms,
Mr. Review,
Flamin' Groovies,
London Community Gospel Choir,
Flash Fearless,
The Associates,
Terrestrial Tones,
Kango’s Stein Massive,
The Count Five,
Dark Day, Dark Day, Dark Day, Dark Day.
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.