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 South Sudan and from Mumbai.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Tokyo and Lagos.
I'm losing my edge to the art-school Toronto 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 Donald Fagen 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 Vainqueur to the disco kids.
I played it at the 40 Watt.
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 Dawn Penn. All the underground hits.
All The Grass Roots tracks. I heard you have a vinyl of every The Fugs 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 '50s cut and another box set from the '90s.
I hear you're buying a harpsichord and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a James White and The Blacks record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pole,
Camouflage,
Scion,
MC5,
Ornette Coleman,
Oblivians,
Ituana,
Rahsaan Roland Kirk,
The Sound,
Stereo Dub,
Crispian St. Peters,
Black Moon,
Fifty Foot Hose,
Ludus,
Interpol,
Marine Girls,
Roy Ayers Ubiquity,
Eli Mardock,
David Bowie,
Pagans,
The Move,
DJ Style,
The Count Five,
Swans,
Soulsonic Force,
The Pretty Things,
Strawberry Alarm Clock,
Sarah Menescal,
Gabor Szabo,
U.S. Maple,
Sonny Sharrock,
E-Dancer,
DJ Sneak,
The Detroit Cobras,
Terry Callier,
Avey Tare & Kría Brekkan,
The Moody Blues,
Archie Shepp,
Underground Resistance,
Skaos,
Bauhaus,
Curtis Mayfield,
Public Enemy,
Alice Coltrane,
Röyhkä ja Rättö ja Lehtisalo,
Ronan,
The New Christs,
Neu!,
Lou Reed & Metallica,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Connie Case,
Bootsy's Rubber Band,
Glambeats Corp.,
Yazoo,
Country Joe & The Fish,
Alphaville,
Public Image Ltd.,
Magma,
Rowland S Howard / Lydia Lunch,
X-102,
Graham Central Station,
Echospace, Echospace, Echospace, Echospace.
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.