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 St Kitts & Nevis and from Delhi.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Jakarta and London.
I'm losing my edge to the art-school New York 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 1984 at the first Arcadia practice in a loft in London.
I was working on the synthesizer sounds with much patience.
I was there when Tom Verlaine 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 Anthony Braxton to the grunge kids.
I played it at the 40 Watt.
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 Eli Mardock. All the underground hits.
All Man Eating Sloth tracks. I heard you have a vinyl of every Letta Mbulu record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a linndrum and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Flash Fearless record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator 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?
Sight & Sound,
CMW,
Zero Boys,
Cybotron,
Franke,
Fluxion,
Camouflage,
Lakeside,
K-Klass,
48th St. Collective,
Richard Hell and the Voidoids,
Subhumans,
Angels of Light & Akron/Family,
Teenage Jesus and the Jerks,
Theoretical Girls,
Von Mondo,
Black Moon,
the Soft Cell,
Cameo,
The Divine Comedy,
The Real Kids,
Glambeats Corp.,
Laurel Aitken,
Soul II Soul,
The Red Krayola,
Rekid,
Röyhkä ja Rättö ja Lehtisalo,
Organ,
The Sonics,
Cecil Taylor,
Joensuu 1685,
Avey Tare & Kría Brekkan,
Deadbeat,
H. Thieme,
Popol Vuh,
The Grass Roots,
Das Ding,
Radiohead,
Super Lover Cee & Casanova Rud,
Rhythim Is Rhythim,
Johnny Osbourne,
UT,
The Monochrome Set,
The Skatalites,
The Stooges,
James White and The Blacks,
Severed Heads,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Standells,
Ohio Players,
Sällskapet,
F. McDonald,
Spandau Ballet,
Scan 7,
Piero Umiliani,
8 Eyed Spy,
Malaria!,
The Golliwogs,
Warsaw,
Scott Walker + Sunn O))), Scott Walker + Sunn O))), Scott Walker + Sunn O))), Scott Walker + Sunn O))).
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.