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 Somalia and from Glasgow.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Sao Paulo and Mexico City.
I'm losing my edge to the art-school Manila 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 guitar sounds with much patience.
I was there when Tom Verlaine 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 Colin Newman to the dance 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 Flash Fearless. All the underground hits.
All Eric Copeland tracks. I heard you have a vinyl of every Angry Samoans 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 '50s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Blues Magoos 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?
Susan Cadogan,
The Blackbyrds,
The Sisters of Mercy,
Shuggie Otis,
The Zeros,
Funkadelic,
Bob Dylan,
These Immortal Souls,
Urselle,
Thompson Twins,
Heaven 17,
The Peanut Butter Conspiracy,
Parry Music,
KRS-One,
Isaac Hayes,
Eric Dolphy,
Sixth Finger,
Grandmaster Flash,
The Mojo Men,
Yellowson,
Peter and Kerry,
Eric B and Rakim,
The Invisible,
Panda Bear,
Minnie Riperton,
Juan Atkins,
The Litter,
Tomorrow,
Roy Ayers Ubiquity,
The Evens,
Slave,
Kaleidoscope,
The Fire Engines,
Aaron Thompson,
Ohio Players,
Bill Wells,
Liaisons Dangereuses,
Andrew Ashong & Theo Parrish,
Leonard Cohen,
Au Pairs,
Jimmy McGriff,
T.S.O.L.,
Josef K,
Lightning Bolt,
Theoretical Girls,
Liliput,
JFA,
Swans,
Kerri Chandler,
Adolescents,
Kenny Larkin,
Rod Modell,
Zero Boys,
Anthony Braxton,
The Flesh Eaters,
Mark Hollis,
Barclay James Harvest,
Gil Scott Heron,
Mandrill,
Pussy Galore,
DJ Style,
Essential Logic,
Pharoah Sanders,
Blake Baxter, Blake Baxter, Blake Baxter, Blake Baxter.
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.