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 Ivory Coast and from Mexico City.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1976.
I'm losing my edge.
To all the kids in Houston and Accra.
I'm losing my edge to the art-school Glasgow 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 1978 at the first Visage practice in a loft in London.
I was working on the arpeggiator sounds with much patience.
I was there when Holger Czukay 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 Radio Birdman to the rap kids.
I played it at the Roxy.
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 Nirvana. All the underground hits.
All The Index tracks. I heard you have a vinyl of every Ornette Coleman 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 '90s.
I hear you're buying an arpeggiator and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Sister Nancy record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Amon Düül,
Lonnie Liston Smith,
Bush Tetras,
The Chocolate Watch Band,
The United States of America,
Drive Like Jehu,
Kas Product,
Lizzy Mercier Descloux,
The Buckinghams,
CMW,
Todd Terry,
Dorothy Ashby,
Magazine,
Gang Green,
Sarah Menescal,
Teenage Jesus and the Jerks,
Gerry Rafferty,
Connie Case,
Mary Jane Girls,
The Smoke,
The Monochrome Set,
Brass Construction,
A Flock of Seagulls,
Fat Boys,
Kango’s Stein Massive,
Jeff Mills,
Ash Ra Tempel,
Qualms,
Fifty Foot Hose,
The Birthday Party,
Gil Scott Heron,
Quando Quango,
Lightning Bolt,
X-101,
Dr. Dre and Snoop Doggy Dog,
Grauzone,
Ultra Naté,
Wings,
Letta Mbulu,
Cal Tjader,
Q65,
Neil Young,
The Standells,
Joe Finger,
The Slits,
Marmalade,
Avey Tare's Slasher Flicks,
Sexual Harrassment,
The Golliwogs,
Brick,
Gichy Dan,
Johnny Clarke,
The Martian,
Nick Fraelich,
John Holt,
The Star Department,
Heaven 17,
Sun Ra Arkestra,
Warren Ellis,
The Remains,
Man Eating Sloth,
Surgeon, Surgeon, Surgeon, Surgeon.
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.