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 Sweden and from Lagos.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in 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 1969 to 1973.
I'm losing my edge.
To all the kids in Milan and Portland.
I'm losing my edge to the art-school Calgary 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 guitar 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 Roy Ayers to the techno 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 The Durutti Column. All the underground hits.
All Roy Ayers Ubiquity tracks. I heard you have a vinyl of every Man Parrish 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 '80s.
I hear you're buying an organ and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Rhythim Is Rhythim record.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Neil Young & Crazy Horse,
Crime,
Lalo Schifrin,
The J.B.'s,
The Remains,
Lyres,
Spandau Ballet,
The Gap Band,
Swell Maps,
Rotary Connection,
Grandmaster Flash and the Furious Five,
Iggy Pop,
Das Ding,
The Vogues,
Basic Channel,
The Tremeloes,
Jawbox,
Ohio Players,
Liaisons Dangereuses,
Fluxion,
Soul Sonic Force,
Gabor Szabo,
Skaos,
Mad Mike,
the Sonics,
Hardrive,
Marc Almond,
Derrick May,
Art Ensemble Of Chicago,
Cecil Taylor,
Eve St. Jones,
Sam Rivers,
The Evens,
James Chance & The Contortions,
The Litter,
Kerri Chandler,
Alison Limerick,
Sun Ra Arkestra,
Drexciya,
Pete Rock & C.L. Smooth,
Jacques Brel,
Eric B and Rakim,
The Monochrome Set,
Flipper,
The Slits,
Peter Gordon & Love of Life Orchestra,
The Doobie Brothers,
Maurizio,
The Selecter,
Sun City Girls,
DJ Style,
Monks,
Symarip,
The West Coast Pop Art Experimental Band,
Ultramagnetic MC's,
Alice Coltrane,
Curtis Mayfield,
Tears for Fears,
Stockholm Monsters, Stockholm Monsters, Stockholm Monsters, Stockholm Monsters.
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.