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 Tuvalu and from Woodstock.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Glasgow and Woodstock.
I'm losing my edge to the art-school Portland 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the rhodes sounds with much patience.
I was there when Nile Rodgers 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 Warren Ellis to the rap 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 The Last Poets. All the underground hits.
All Jerry Gold Smith tracks. I heard you have a vinyl of every Alice Coltrane 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 mellotron and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Barry Ungar record.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Can,
Max Romeo,
Jesper Dahlbäck,
Pole,
Leonard Cohen,
La Düsseldorf,
Erasure,
Shuggie Otis,
Silicon Teens,
Rufus Thomas,
Pylon,
Matthew Bourne,
Scratch Acid,
Ohio Players,
Flamin' Groovies,
Sound Behaviour,
Warsaw,
Sister Nancy,
The Barracudas,
Monks,
Louis and Bebe Barron,
Jacques Brel,
The Gladiators,
Eden Ahbez,
Black Flag,
Desert Stars,
Soft Machine,
The Cowsills,
the Human League,
Sunsets and Hearts,
Kool Moe Dee,
Neil Young & Crazy Horse,
Joey Negro,
Oblivians,
The Motions,
Rapeman,
Josef K,
Eyeless In Gaza,
Cymande,
Marine Girls,
Zapp,
OOIOO,
Lyres,
These Immortal Souls,
It's A Beautiful Day,
Patti Smith,
Lalann,
The Mighty Diamonds,
Blake Baxter,
The Count Five,
Black Pus,
Crispy Ambulance,
Glambeats Corp.,
U.S. Maple,
X-102,
The New Christs,
Lizzy Mercier Descloux,
Gil Scott Heron,
Wire,
Massinfluence,
John Foxx,
CMW,
The Invisible, The Invisible, The Invisible, The Invisible.
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.