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 Solomon Islands and from Tokyo.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1974.
I'm losing my edge.
To all the kids in Milan and Taipei.
I'm losing my edge to the art-school Lille 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 1979 at the first Second Layer practice in a loft in South London.
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 Crispy Ambulance to the grime 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 UT. All the underground hits.
All Fad Gadget tracks. I heard you have a vinyl of every Pylon record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s 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 Liaisons Dangereuses record.
I hear that you and your band have sold your sitar and bought a theremin.
I hear that you and your band have sold your theremin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roy Ayers,
Mark Hollis,
Soft Machine,
Brick,
Electric Light Orchestra,
Thee Headcoats,
The Offenders,
10cc,
Crash Course in Science,
Rod Modell,
Deutsch Amerikanische Freundschaft,
Marmalade,
the Swans,
Lucky Dragons,
Slick Rick,
Pagans,
Eden Ahbez,
Interpol,
Sly & The Family Stone,
The Slits,
Isaac Hayes,
The Moleskins,
Yaz,
Thinking Fellers Union Local 282,
Don Cherry,
Freddie Wadling,
The Alarm Clocks,
Junior Murvin,
Television,
Agent Orange,
The Busters,
Panda Bear,
Pierre Henry,
Ash Ra Tempel,
DJ Style,
Byron Stingily,
Alice Coltrane,
Deadbeat,
Talk Talk,
Kayak,
Goldenarms,
Shuggie Otis,
Simply Red,
Skarface,
Parry Music,
Glambeats Corp.,
Mars,
Section 25,
John Coltrane,
Crime,
Peter Gordon & Love of Life Orchestra,
The Searchers,
Dorothy Ashby,
T.S.O.L.,
Liaisons Dangereuses,
Henry Cow,
The Zeros,
Black Bananas,
The Mummies,
Matthew Halsall,
Patti Smith,
Arthur Verocai,
The Mighty Diamonds,
Sexual Harrassment,
Underground Resistance, Underground Resistance, Underground Resistance, Underground Resistance.
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.