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 Belgium and from Hong Kong.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Toronto and Johannesburg.
I'm losing my edge to the art-school London 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 theremin sounds with much patience.
I was there when Robert Palmer 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 Throbbing Gristle to the electroclash kids.
I played it at the Spitz.
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 Jesus and Mary Chain. All the underground hits.
All Bootsy Collins tracks. I heard you have a vinyl of every New Order 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 '60s cut and another box set from the '70s.
I hear you're buying a rhodes and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Andrew Ashong & Theo Parrish record.
I hear that you and your band have sold your güiro and bought a 808.
I hear that you and your band have sold your 808 and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Normal,
Bluetip,
Amon Düül,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Cramps,
Tubeway Army,
X-102,
Deutsch Amerikanische Freundschaft,
Oblivians,
Brass Construction,
Derrick Morgan,
Cecil Taylor,
Ludus,
The Toasters,
Neil Young & Crazy Horse,
Sight & Sound,
The Stooges,
Nas,
Pete Rock & C.L. Smooth,
Peter Gordon & Love of Life Orchestra,
kango's stein massive,
Minor Threat,
The Gun Club,
Ossler,
Black Sheep,
The Zeros,
Rosa Yemen,
Alton Ellis,
Siglo XX,
The West Coast Pop Art Experimental Band,
New Age Steppers,
Marcia Griffiths,
The Moody Blues,
Colin Newman,
Thee Headcoats,
Soft Machine,
Audionom,
Silicon Teens,
Arthur Verocai,
Outsiders,
Alice Coltrane,
Tommy Roe,
Bobby Sherman,
The Index,
Gil Scott-Heron and Jamie xx,
Matthew Bourne,
Mantronix,
Marc Almond,
Brand Nubian,
Camouflage,
Khruangbin,
Todd Terry,
Gabor Szabo,
The Music Machine,
48th St. Collective,
Sandy B,
Blake Baxter,
Skriet,
Simply Red,
Super Lover Cee & Casanova Rud,
F. McDonald,
Nirvana,
Hot Snakes,
The Detroit Cobras, The Detroit Cobras, The Detroit Cobras, The Detroit Cobras.
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.