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 Glasgow.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1976.
I'm losing my edge.
To all the kids in Manila and Madrid.
I'm losing my edge to the art-school Calgary 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 808 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 The Associates to the jazz 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 Niagra. All the underground hits.
All Absolute Body Control tracks. I heard you have a vinyl of every Lindisfarne record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a theremin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Simply Red record.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gian Franco Pienzio,
Pylon,
Maurizio,
Unwound,
The Detroit Cobras,
June of 44,
Ken Boothe,
Section 25,
Lalann,
Sandy B,
Massinfluence,
Black Bananas,
Frankie Knuckles,
A Certain Ratio,
Thinking Fellers Union Local 282,
Monolake,
Robert Wyatt,
Gil Scott Heron,
Saccharine Trust,
Amon Düül II,
Minor Threat,
Gil Scott-Heron & Brian Jackson,
Oppenheimer Analysis,
Andrew Ashong & Theo Parrish,
The Doobie Brothers,
the Association,
Absolute Body Control,
Laurel Aitken,
Ituana,
Roger Hodgson,
Quadrant,
Parry Music,
Robert Hood,
Harmonia,
Kaleidoscope,
Tommy Roe,
Trumans Water,
Colin Newman,
Con Funk Shun,
Blossom Toes,
Joy Division,
Louis and Bebe Barron,
Agent Orange,
Idris Muhammad,
The Fall,
Das Ding,
a-ha,
Andrew Hill,
Gary Puckett & The Union Gap,
The Pretty Things,
James Chance & The Contortions,
Soul Sonic Force,
Connie Case,
Grandmaster Flash,
Buzzcocks,
Johnny Clarke,
Inner City,
The Zeros,
The Neon Judgement,
Deakin,
Skaos,
the Normal,
Little Man,
Ornette Coleman, Ornette Coleman, Ornette Coleman, Ornette Coleman.
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.