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 Iraq and from Philadelphia.
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 1961 to 1971.
I'm losing my edge.
To all the kids in Taipei and Accra.
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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the synthesizer 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 L. Decosne 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 Leonard Cohen. All the underground hits.
All Marcia Griffiths tracks. I heard you have a vinyl of every X-Ray Spex record on German import.
I heard that you have a white label of every seminal electroclash 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 organ and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kerri Chandler,
Alton Ellis,
U.S. Maple,
Unrelated Segments,
Hardrive,
Roy Ayers,
Rosa Yemen,
Intrusion,
Eli Mardock,
Ajijia Myrayebe,
Adolescents,
Sight & Sound,
Easy Going,
Oneida,
Japan,
Soft Machine,
Roxette,
New Order,
Jeff Lynne,
The Motions,
The Misunderstood,
Bootsy's Rubber Band,
Althea and Donna,
The Move,
Sällskapet,
Joey Negro,
These Immortal Souls,
Heaven 17,
The Blackbyrds,
Moby Grape,
Nils Olav,
Depeche Mode,
Television,
Con Funk Shun,
Cameo,
Make Up,
Brand Nubian,
Johnny Clarke,
Peter and Kerry,
The Doobie Brothers,
Sly & The Family Stone,
The Walker Brothers,
L. Decosne,
Clear Light,
The Sonics,
Camron Feat. Jay Z And Juelz,
The Sound,
Flash Fearless,
Chris & Cosey,
Justin Hinds & The Dominoes,
Man Eating Sloth,
Minny Pops,
Thompson Twins,
the Bar-Kays,
Mary Jane Girls,
The Cowsills,
Cabaret Voltaire,
Heavy D & The Boyz,
Arthur Verocai,
The Zeros,
Ronan,
Rites of Spring, Rites of Spring, Rites of Spring, Rites of Spring.
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.