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 Taiwan and from Shanghai.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1969 to 1979.
I'm losing my edge.
To all the kids in Accra and Mexico City.
I'm losing my edge to the art-school Tokyo 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 güiro 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 The Gladiators to the grunge kids.
I played it at the Hacienda.
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 Arab on Radar. All the underground hits.
All Tropical Tobacco tracks. I heard you have a vinyl of every Fifty Foot Hose record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a marimba and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Freddie Wadling record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Blake Baxter,
the Fania All-Stars,
Sarah Menescal,
Derrick May,
Black Bananas,
The Cramps,
The Techniques,
Drive Like Jehu,
Lindisfarne,
Terror Squad Feat. Camron,
One Last Wish,
The West Coast Pop Art Experimental Band,
Can,
Lebanon Hanover,
Sex Pistols,
Pylon,
Angels of Light & Akron/Family,
Ash Ra Tempel,
June of 44,
Howard Jones,
Gastr Del Sol,
Slave,
Traffic Nightmare,
Negative Approach,
The Kinks,
The Slits,
Smog,
Lower 48,
The New Christs,
World's Most,
Reuben Wilson,
Scott Walker + Sunn O))),
Bauhaus,
Marshall Jefferson,
Hot Snakes,
Bobby Womack,
Echospace,
Sunsets and Hearts,
Davy DMX,
Lonnie Liston Smith,
Brass Construction,
Eli Mardock,
Charles Mingus,
Letta Mbulu,
Alice Coltrane,
Boogie Down Productions,
Tim Buckley,
the Normal,
It's A Beautiful Day,
Half Japanese,
Qualms,
Sun Ra,
Sight & Sound,
Darondo,
Cecil Taylor,
Lyres,
Radiohead,
Camron Feat. Jay Z And Juelz,
Zero Boys,
Spoonie Gee,
the Sonics,
Lou Reed,
Procol Harum,
The Gladiators, The Gladiators, The Gladiators, The Gladiators.
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.