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 Mali and from Salvador.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Lyon and Winnipeg.
I'm losing my edge to the art-school Jakarta 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 chamberlin sounds with much patience.
I was there when Donald Fagen 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 Eric Dolphy to the grime kids.
I played it at the Astoria.
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 Theoretical Girls. All the underground hits.
All Tim Buckley tracks. I heard you have a vinyl of every Tropical Tobacco 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 '50s cut and another box set from the '90s.
I hear you're buying a chamberlin and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Invisible record.
I hear that you and your band have sold your linndrum and bought a theremin.
I hear that you and your band have sold your theremin and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rosa Yemen,
Crime,
Ohio Players,
The Martian,
Siglo XX,
Japan,
Man Eating Sloth,
Josef K,
La Düsseldorf,
The Gladiators,
the Swans,
DJ Sneak,
Hardrive,
Archie Shepp,
Eli Mardock,
Sixth Finger,
Rahsaan Roland Kirk,
Eden Ahbez,
The Star Department,
Bizarre Inc.,
Black Pus,
Rotary Connection,
Soul II Soul,
Fifty Foot Hose,
Gian Franco Pienzio,
Quadrant,
Roy Ayers,
Quando Quango,
The Dirtbombs,
Masters at Work,
Jandek,
Mandrill,
The Walker Brothers,
PIL,
Eddi Front,
The Toasters,
Bob Dylan,
Soulsonic Force,
Henry Cow,
London Community Gospel Choir,
The Raincoats,
Index,
Manfred Mann's Earth Band,
The Move,
Alphaville,
James White and The Blacks,
Franke,
Maleditus Sound,
Gang of Four,
A Flock of Seagulls,
Kool Moe Dee,
Q and Not U,
Stockholm Monsters,
The Names,
Unrelated Segments,
Bang On A Can,
Robert Wyatt,
Banda Bassotti,
OOIOO,
Richard Hell and the Voidoids, Richard Hell and the Voidoids, Richard Hell and the Voidoids, Richard Hell and the Voidoids.
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.