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 Yemen and from Accra.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1972.
I'm losing my edge.
To all the kids in Manchester and Tokyo.
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 1984 at the first Arcadia practice in a loft in London.
I was working on the spring reverb 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 The United States of America to the grime kids.
I played it at Cafe Wha.
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 Man Parrish. All the underground hits.
All Anthony Braxton tracks. I heard you have a vinyl of every Neil Young record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a marimba and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The Black Dice record.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joe Smooth,
Andrew Hill,
Marc Almond,
Kings Of Tomorrow,
Rekid,
James Chance & The Contortions,
Popol Vuh,
Kurtis Blow,
The Martian,
Gary Puckett & The Union Gap,
Das Ding,
Pagans,
Bootsy Collins,
Fad Gadget,
Archie Shepp,
The Gladiators,
The Cramps,
Young Marble Giants,
Severed Heads,
The Techniques,
Angels of Light & Akron/Family,
the Human League,
Alison Limerick,
The Blackbyrds,
Wolf Eyes,
Camouflage,
Grandmaster Flash and the Furious Five,
Peter Gordon & Love of Life Orchestra,
Sarah Menescal,
Lindisfarne,
the Association,
Panda Bear,
Yaz,
Stockholm Monsters,
The Monochrome Set,
Alice Coltrane,
Terry Callier,
The Electric Prunes,
The Litter,
Lakeside,
The Gun Club,
Stiv Bators,
Kango’s Stein Massive,
E-Dancer,
Chris Corsano,
Infiniti,
Matthew Bourne,
Joensuu 1685,
K-Klass,
Rites of Spring,
Black Moon,
Moss Icon,
Scott Walker + Sunn O))),
Judy Mowatt,
Dead Boys,
Grauzone,
The Mojo Men,
Graham Central Station,
Soft Cell,
Don Cherry,
Malaria!,
Silicon Teens,
The West Coast Pop Art Experimental Band,
Easy Going, Easy Going, Easy Going, Easy Going.
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.