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 Swaziland and from Mumbai.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Manchester and Lagos.
I'm losing my edge to the art-school Bologna 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 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 U.S. Maple to the grunge 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 Matthew Bourne. All the underground hits.
All Bobby Byrd tracks. I heard you have a vinyl of every Stetsasonic 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 '80s cut and another box set from the '80s.
I hear you're buying a marimba and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a The Techniques record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Cale,
8 Eyed Spy,
The Invisible,
Japan,
Colin Newman,
Albert Ayler,
Big Daddy Kane,
the Swans,
ABBA,
Aswad,
Jacques Brel,
Lee Hazlewood,
Barry Ungar,
The Music Machine,
The Names,
Sun Ra Arkestra,
Agitation Free,
Crooked Eye,
Oneida,
Cal Tjader,
Beasts of Bourbon,
Danielle Patucci,
Swell Maps,
Bobby Hutcherson,
Tres Demented,
Underground Resistance,
Barrington Levy,
Ituana,
Rapeman,
Joyce Sims,
Hardrive,
Gang Starr,
Altered Images,
Harmonia,
The Fuzztones,
Second Layer,
Glambeats Corp.,
Camberwell Now,
The Skatalites,
Clear Light,
Lalann,
Peter & Gordon,
Sunsets and Hearts,
Marc Romboy vs. Booka Shade,
The Evens,
Mantronix,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Wake,
Pharoah Sanders,
The Monochrome Set,
Subhumans,
Hoover,
Buzzcocks,
Ohio Players,
Quando Quango,
Monks,
Jeff Mills,
The Mojo Men,
Todd Terry,
Arcadia,
The West Coast Pop Art Experimental Band,
Stockholm Monsters,
Massinfluence, Massinfluence, Massinfluence, Massinfluence.
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.