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 Burkina and from Lyon.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1962 to 1978.
I'm losing my edge.
To all the kids in Bremen and Mexico City.
I'm losing my edge to the art-school Salvador 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the theremin sounds with much patience.
I was there when Michael McDonald 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 Skaos to the crunk 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 Robert Wyatt. All the underground hits.
All Man Eating Sloth tracks. I heard you have a vinyl of every Dead Boys record on German import.
I heard that you have a white label of every seminal funk 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 marimba and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Susan Cadogan record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer 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?
Reuben Wilson,
Interpol,
Marcia Griffiths,
Visionaries,LMNO, T- Love & Iriscience,
Eric Dolphy,
The Birthday Party,
Idris Muhammad,
Soul II Soul,
A Flock of Seagulls,
Fad Gadget,
Oneida,
Kas Product,
Motorama,
The Music Machine,
Unrelated Segments,
The Gun Club,
Derrick Morgan,
PIL,
Althea and Donna,
Glambeats Corp.,
Andrew Ashong & Theo Parrish,
Ash Ra Tempel,
Eyeless In Gaza,
Slick Rick,
Derrick May,
Pylon,
Pet Shop Boys,
The Sound,
The J.B.'s,
Kool G Rap & DJ Polo,
Index,
Chris Corsano,
The Toasters,
Jawbox,
the Sonics,
Art Ensemble Of Chicago,
Excepter,
Dead Boys,
Leonard Cohen,
Siglo XX,
the Normal,
Zero Boys,
Boogie Down Productions,
Graham Central Station,
The Alarm Clocks,
Sun City Girls,
Jesper Dahlbäck,
Alphaville,
10cc,
Y Pants,
The Buckinghams,
Terry Callier,
Drive Like Jehu,
Procol Harum,
Neu!,
Roxette,
Ice-T,
Talk Talk,
Sällskapet,
MDC,
Mark Hollis, Mark Hollis, Mark Hollis, Mark Hollis.
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.