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 Lithuania and from Johannesburg.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Calgary and Tehran.
I'm losing my edge to the art-school Mumbai 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 linndrum sounds with much patience.
I was there when Michael McDonald 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 Yusef Lateef to the disco kids.
I played it at Trash.
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 Big Daddy Kane. All the underground hits.
All Ornette Coleman tracks. I heard you have a vinyl of every Dennis Brown 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 '60s cut and another box set from the '80s.
I hear you're buying a theremin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Barry Ungar record.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Blackbyrds,
Mission of Burma,
Major Organ And The Adding Machine,
Bang on a Can All-Stars,
JFA,
Don Cherry,
B.T. Express,
Mad Mike,
Intrusion,
Boredoms,
Lou Reed & John Cale,
Supertramp,
Quando Quango,
The Alarm Clocks,
Echo & the Bunnymen,
The Men They Couldn't Hang,
Man Eating Sloth,
X-102,
The Electric Prunes,
Grauzone,
The Modern Lovers,
Symarip,
The Buckinghams,
The Gap Band,
Agent Orange,
Slick Rick,
Ash Ra Tempel,
Donald Byrd,
Louis and Bebe Barron,
Ken Boothe,
Kas Product,
Prince Buster,
Fugazi,
The J.B.'s,
Eurythmics,
John Coltrane,
Charles Mingus,
The Music Machine,
The Tremeloes,
Archie Shepp,
The Misunderstood,
The Sisters of Mercy,
Gichy Dan,
Kool G Rap & DJ Polo,
FM Einheit,
The Litter,
John Cale,
Joensuu 1685,
Harmonia,
Arthur Verocai,
Deakin,
Roger Hodgson,
A Flock of Seagulls,
Marvin Gaye,
Young Marble Giants,
a-ha,
Talk Talk,
X-Ray Spex,
Richard Hell and the Voidoids,
Pagans,
Brass Construction,
The Divine Comedy,
Chris Corsano,
Leonard Cohen, Leonard Cohen, Leonard Cohen, Leonard Cohen.
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.