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 Togo and from Delhi.
But I was there.
I was there in 1976.
I was there at the first Wire show in Watford.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Columbus and Philadelphia.
I'm losing my edge to the art-school Woodstock 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the marimba sounds with much patience.
I was there when Holger Czukay 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 Panda Bear to the techno 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 Delon & Dalcan. All the underground hits.
All Arcadia tracks. I heard you have a vinyl of every Porter Ricks 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 '60s cut and another box set from the '80s.
I hear you're buying a 808 and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Alison Limerick record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Gories,
Ornette Coleman,
Cal Tjader,
10cc,
Warren Ellis,
The J.B.'s,
Donny Hathaway,
Newcleus,
Godley & Creme,
Cameo,
Soft Cell,
The Modern Lovers,
The Skatalites,
Kango’s Stein Massive,
Minny Pops,
Carl Craig,
Jimmy McGriff,
Aswad,
The Grass Roots,
Donald Byrd,
Absolute Body Control,
Joensuu 1685,
Sly & The Family Stone,
The Evens,
Gil Scott Heron,
Ultravox,
Robert Wyatt,
Royal Trux,
The Motions,
The American Breed,
Ohio Players,
The Shadows of Knight,
Joe Smooth,
The Last Poets,
Deakin,
Basic Channel,
Roy Ayers Ubiquity,
Sugar Minott,
Sam Rivers,
Joy Division,
China Crisis,
Peter Gordon & Love of Life Orchestra,
Delon & Dalcan,
Glambeats Corp.,
Anthony Braxton,
Angry Samoans,
a-ha,
Cheater Slicks,
Swell Maps,
Scientists,
Rufus Thomas,
Dorothy Ashby,
Fort Wilson Riot,
Dark Day,
Matthew Bourne,
Black Flag,
EPMD,
Big Daddy Kane,
Junior Murvin,
Procol Harum,
Quando Quango,
Black Moon, Black Moon, Black Moon, Black Moon.
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.