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 China and from Jakarta.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1970.
I'm losing my edge.
To all the kids in Toronto and Taipei.
I'm losing my edge to the art-school Paris 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 spring reverb sounds with much patience.
I was there when Captain Beefheart 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 Toni Rubio to the techno kids.
I played it at the Crocodile.
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 Infiniti. All the underground hits.
All Radiohead tracks. I heard you have a vinyl of every Piero Umiliani record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Clear Light record.
I hear that you and your band have sold your marimba and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The West Coast Pop Art Experimental Band,
Alison Limerick,
Blossom Toes,
Bill Wells,
Idris Muhammad,
Chrome,
Model 500,
Mars,
Kerri Chandler,
Soft Machine,
The Standells,
The Leaves,
The Pretty Things,
Black Pus,
Frankie Knuckles,
Magazine,
The Pop Group,
Yaz,
The Flesh Eaters,
Kas Product,
Darondo,
Symarip,
David McCallum,
Heaven 17,
Swell Maps,
The Cosmic Jokers,
The Music Machine,
Tropical Tobacco,
The Golliwogs,
Rufus Thomas,
China Crisis,
Masters at Work,
Don Cherry,
X-101,
Lizzy Mercier Descloux,
Hasil Adkins,
Section 25,
the Swans,
Joey Negro,
The Cowsills,
Justin Hinds & The Dominoes,
Grandmaster Flash and the Furious Five,
Pagans,
Eddi Front,
Roy Ayers Ubiquity,
Vladislav Delay,
Ornette Coleman,
Jandek,
Goldenarms,
Pussy Galore,
Grauzone,
Siouxsie and the Banshees,
Radio Birdman,
The Remains,
James Chance & The Contortions,
Soft Cell,
Technova,
Boredoms,
Chris Corsano,
Amazonics,
Suicide,
It's A Beautiful Day, It's A Beautiful Day, It's A Beautiful Day, It's A Beautiful Day.
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.