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 Georgia and from Columbus.
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 1962 to 1970.
I'm losing my edge.
To all the kids in Sao Paulo and Beijing.
I'm losing my edge to the art-school Milan 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the theremin 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 Man Parrish to the crunk 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 Steve Hackett. All the underground hits.
All Silicon Teens tracks. I heard you have a vinyl of every UT record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a 808 and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Marmalade record.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultra Naté,
Essential Logic,
Andrew Ashong & Theo Parrish,
Lucky Dragons,
Porter Ricks,
Cecil Taylor,
Black Bananas,
Bobby Byrd,
The Young Rascals,
Sugar Minott,
Moby Grape,
The Moleskins,
The Birthday Party,
Unwound,
Q and Not U,
Country Teasers,
Technova,
D'Angelo,
Aural Exciters,
The Fuzztones,
Sly & The Family Stone,
The Techniques,
Pantytec,
Soft Machine,
Sight & Sound,
Country Joe & The Fish,
Ash Ra Tempel,
Bobby Hutcherson,
James Chance & The Contortions,
The Dead C,
Malaria!,
Blancmange,
The Associates,
Notorious Big And Bone Thugs,
Grauzone,
MC5,
Josef K,
Rosa Yemen,
One Last Wish,
Siouxsie and the Banshees,
Rotary Connection,
Scientists,
The Selecter,
Bill Near,
The Mummies,
Wire,
David Axelrod,
Negative Approach,
The Walker Brothers,
Ludus,
Slave,
Warren Ellis,
John Cale,
Kayak,
Rhythm & Sound,
The Doors,
Suicide,
Quadrant,
Rakim,
Stockholm Monsters,
Pagans,
Ponytail,
Quantec,
Susan Cadogan, Susan Cadogan, Susan Cadogan, Susan Cadogan.
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.