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 Venezuela and from Delhi.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1964 to 1974.
I'm losing my edge.
To all the kids in Winnipeg and Lagos.
I'm losing my edge to the art-school Mumbai 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the 808 sounds with much patience.
I was there when David Bowie 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 Jesper Dahlback to the rap kids.
I played it at the Astoria.
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 Birthday Party. All the underground hits.
All The Pretty Things tracks. I heard you have a vinyl of every T. Rex record on German import.
I heard that you have a white label of every seminal rock 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 marimba and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Dorothy Ashby record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Metal Thangz,
Ultimate Spinach,
Ossler,
Chris Corsano,
Slave,
The Misunderstood,
8 Eyed Spy,
Ornette Coleman,
Sad Lovers and Giants,
the Soft Cell,
Leonard Cohen,
JFA,
Albert Ayler,
Dawn Penn,
Curtis Mayfield,
Underground Resistance,
Dave Gahan,
Oppenheimer Analysis,
Davy DMX,
Lower 48,
Sex Pistols,
The United States of America,
Gong,
Amon Düül,
Terry Callier,
The Blackbyrds,
Hardrive,
Althea and Donna,
The Birthday Party,
Bobby Hutcherson,
Scott Walker,
Moebius,
The Red Krayola,
Gil Scott Heron,
Jimmy McGriff,
China Crisis,
Bang on a Can All-Stars,
Aswad,
Bill Near,
La Düsseldorf,
Public Enemy,
Guru Guru,
The Dead C,
The Motions,
John Lydon,
Don Cherry,
The Cure,
Siouxsie and the Banshees,
Jacques Brel,
Mars,
Junior Murvin,
The Detroit Cobras,
Tom Boy,
Prince Buster,
Scientists,
The Chocolate Watch Band,
Vaughan Mason & Crew,
Josef K,
The Sonics,
Minny Pops,
The Wake,
Grandmaster Flash and the Furious Five,
The Music Machine, The Music Machine, The Music Machine, The Music Machine.
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.