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 Tonga and from Delhi.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1979.
I'm losing my edge.
To all the kids in Houston and Copenhagen.
I'm losing my edge to the art-school Philadelphia 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the clarinet sounds with much patience.
I was there when Captain Beefheart 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 The Smoke to the techno 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 Dave Gahan. All the underground hits.
All Mission of Burma 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 grime 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 a linndrum and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a London Community Gospel Choir record.
I hear that you and your band have sold your 808 and bought a sitar.
I hear that you and your band have sold your sitar and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Chrome,
The Birthday Party,
Colin Newman,
Orchestral Manoeuvres in the Dark,
Jerry's Kids,
Yusef Lateef,
The Men They Couldn't Hang,
Brothers Johnson,
Radiopuhelimet,
Jeff Lynne,
Bill Near,
Mo-Dettes,
Prince Buster,
Freddie Wadling,
A Certain Ratio,
The Move,
Art Ensemble Of Chicago,
Massinfluence,
The Kinks,
Leonard Cohen,
Archie Shepp,
The Misunderstood,
Grandmaster Flash,
Kenny Larkin,
Harpers Bizarre,
Fugazi,
These Immortal Souls,
Agitation Free,
Parry Music,
Warsaw,
Deakin,
Banda Bassotti,
The West Coast Pop Art Experimental Band,
World's Most,
Stockholm Monsters,
The Alarm Clocks,
UT,
Aloha Tigers,
Rekid,
Bootsy Collins,
Eric Copeland,
Jeru the Damaja,
Peter Gordon & Love of Life Orchestra,
Oblivians,
PIL,
Black Bananas,
Lindisfarne,
Hoover,
Monks,
Interpol,
Sexual Harrassment,
Con Funk Shun,
The Grass Roots,
Super Lover Cee & Casanova Rud,
The Searchers,
Kerri Chandler,
The Gap Band,
The Black Dice,
Nils Olav,
Donny Hathaway,
Deepchord,
The Shadows of Knight,
Marc Romboy vs. Booka Shade,
Sound Behaviour, Sound Behaviour, Sound Behaviour, Sound Behaviour.
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.