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 Seychelles and from Shanghai.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1972.
I'm losing my edge.
To all the kids in Jakarta and Mexico City.
I'm losing my edge to the art-school Accra 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the theremin 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 X-Ray Spex to the electroclash kids.
I played it at the Spitz.
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 Terry Callier. All the underground hits.
All Lebanon Hanover tracks. I heard you have a vinyl of every Marcia Griffiths record on German import.
I heard that you have a white label of every seminal electroclash 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 a güiro and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Charles Mingus record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Piero Umiliani,
Half Japanese,
AZ,
U.S. Maple,
ABC,
48th St. Collective,
Leonard Cohen,
Glenn Branca,
cv313,
Bill Wells,
Minutemen,
Ten City,
Peter and Kerry,
Black Sheep,
The Monks,
Pagans,
Vladislav Delay,
The New Christs,
Nick Cave & The Bad Seeds,
The Human League,
Negative Approach,
Archie Shepp,
ABBA,
Babytalk,
Tropical Tobacco,
The Moleskins,
8 Eyed Spy,
L. Decosne,
Theoretical Girls,
Altered Images,
H. Thieme,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Alarm Clocks,
John Cale,
Don Cherry,
Silicon Teens,
Scan 7,
Judy Mowatt,
10cc,
The Fugs,
The Zeros,
Aaron Thompson,
James White and The Blacks,
Cal Tjader,
Gian Franco Pienzio,
Wire,
James Chance & The Contortions,
The Happenings,
The West Coast Pop Art Experimental Band,
Country Teasers,
Essential Logic,
The Index,
Matthew Bourne,
Howard Jones,
Lungfish,
The Skatalites,
Peter & Gordon,
Simply Red,
Peter Gordon & Love of Life Orchestra,
Gil Scott Heron, Gil Scott Heron, Gil Scott Heron, Gil Scott Heron.
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.