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 Kiribati and from Lagos.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1979.
I'm losing my edge.
To all the kids in Accra and Stockholm.
I'm losing my edge to the art-school Shanghai 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 theremin sounds with much patience.
I was there when Lou Reed 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 Rapeman to the funk kids.
I played it at the Troubador.
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 Qualms. All the underground hits.
All Silicon Teens tracks. I heard you have a vinyl of every Tears for Fears 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 '80s cut and another box set from the '70s.
I hear you're buying a snare and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a K-Klass record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Motorama,
The Blackbyrds,
Darondo,
De La Soul & Jungle Brothers,
Hashim,
Iggy Pop,
Au Pairs,
Jimmy McGriff,
Siglo XX,
The Mummies,
Wire,
Goldenarms,
The Birthday Party,
The Alarm Clocks,
The Misunderstood,
Bill Wells,
Sandy B,
Blossom Toes,
Erasure,
Anthony Braxton,
The Fuzztones,
Metal Thangz,
Archie Shepp,
H. Thieme,
Wally Richardson,
The Gladiators,
Eve St. Jones,
Yazoo,
Patti Smith,
Hardrive,
The Index,
Girls At Our Best!,
Boz Scaggs,
Idris Muhammad,
Magma,
Jacob Miller,
Pete Rock & C.L. Smooth,
Masters at Work,
Joyce Sims,
Sarah Menescal,
Sly & The Family Stone,
Desert Stars,
Derrick May,
La Düsseldorf,
F. McDonald,
Crime,
Altered Images,
Hot Snakes,
the Swans,
Gabor Szabo,
Sun Ra,
It's A Beautiful Day,
Faust,
Strawberry Alarm Clock,
Massinfluence,
Roger Hodgson,
Sällskapet,
The Pretty Things,
Joe Smooth,
Skaos,
Average White Band,
FM Einheit,
The Detroit Cobras,
The Grass Roots, The Grass Roots, The Grass Roots, The Grass Roots.
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.