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 Jamaica and from Sao Paulo.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Lagos and Portland.
I'm losing my edge to the art-school Tehran 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the spring reverb 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 Gang Green to the grime kids.
I played it at Cafe Wha.
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 Avey Tare's Slasher Flicks. All the underground hits.
All Susan Cadogan tracks. I heard you have a vinyl of every Be Bop Deluxe record on German import.
I heard that you have a white label of every seminal techno 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 chamberlin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Au Pairs record.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Grandmaster Flash and the Furious Five,
Khruangbin,
Louis and Bebe Barron,
James Chance & The Contortions,
Bobby Byrd,
Neu!,
Big Daddy Kane,
Jawbox,
Circle Jerks,
Lizzy Mercier Descloux,
Tom Boy,
The West Coast Pop Art Experimental Band,
Pet Shop Boys,
Heavy D & The Boyz,
Gong,
Minnie Riperton,
The Wake,
Kayak,
Jesper Dahlbäck,
The Kinks,
Supertramp,
Absolute Body Control,
Gil Scott Heron,
Godley & Creme,
Lalo Schifrin,
Rahsaan Roland Kirk,
Technova,
The J.B.'s,
Jimmy McGriff,
Dennis Brown,
Matthew Bourne,
Todd Rundgren,
The Dirtbombs,
Flash Fearless,
Pete Rock & C.L. Smooth,
Delon & Dalcan,
Echo & the Bunnymen,
Johnny Clarke,
The Detroit Cobras,
Bob Dylan,
Monolake,
The Jesus and Mary Chain,
The Divine Comedy,
Jerry Gold Smith,
Lyres,
Magazine,
Robert Hood,
The Durutti Column,
Sun Ra Arkestra,
Soft Cell,
Hashim,
Q65,
UT,
AZ,
Erasure,
Intrusion,
The Fall,
kango's stein massive,
Desert Stars,
Eddi Front,
David Bowie,
Robert Wyatt, Robert Wyatt, Robert Wyatt, Robert Wyatt.
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.