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 Panama and from Paris.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Jakarta and Sao Paulo.
I'm losing my edge to the art-school Johannesburg 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the snare 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 Chocolate Watch Band to the funk kids.
I played it at the Astoria.
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 Todd Rundgren. All the underground hits.
All David Axelrod tracks. I heard you have a vinyl of every Gil Scott-Heron and Jamie xx record on German import.
I heard that you have a white label of every seminal grime 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 808 and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Girls At Our Best! record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Main Source,
Marc Romboy vs. Booka Shade,
U.S. Maple,
Moebius,
Yaz,
Anthony Braxton,
Joyce Sims,
Nils Olav,
Roger Hodgson,
Josef K,
Black Sheep,
a-ha,
The Flesh Eaters,
Zapp,
Gong,
David Axelrod,
The Residents,
New York Dolls,
The Star Department,
KRS-One,
Grey Daturas,
Von Mondo,
Rotary Connection,
Brand Nubian,
Sister Nancy,
John Foxx,
The Cramps,
Nas,
Deutsch Amerikanische Freundschaft,
Clear Light,
Newcleus,
Sugar Minott,
Be Bop Deluxe,
Scrapy,
Ken Boothe,
Ice-T,
Pierre Henry,
The West Coast Pop Art Experimental Band,
Jerry's Kids,
Schoolly D,
Anakelly,
Angels of Light & Akron/Family,
James Chance & The Contortions,
One Last Wish,
Sparks,
Hardrive,
Cluster,
The Gap Band,
Colin Newman,
Ultramagnetic MC's,
Sonic Youth,
The Shadows of Knight,
Cabaret Voltaire,
Ultimate Spinach,
Archie Shepp,
Andrew Hill,
Whodini,
Aswad,
The American Breed,
Banda Bassotti,
Terry Callier,
Television,
the Sonics, the Sonics, the Sonics, the Sonics.
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.