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 Iraq and from Seoul.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1974.
I'm losing my edge.
To all the kids in Beijing and Copenhagen.
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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the 808 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 Eve St. Jones to the electroclash kids.
I played it at Trash.
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 Black Dice. All the underground hits.
All Fatback Band tracks. I heard you have a vinyl of every Peter and Kerry record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying an organ and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Joyce Sims record.
I hear that you and your band have sold your güiro and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eric Dolphy,
Junior Murvin,
Loose Ends,
Rites of Spring,
Bush Tetras,
Fat Boys,
Gichy Dan,
Electric Light Orchestra,
Frankie Knuckles,
Blake Baxter,
Isaac Hayes,
Warren Ellis,
Ornette Coleman,
The Cure,
Technova,
Harpers Bizarre,
Piero Umiliani,
Barrington Levy,
The Five Americans,
The Black Dice,
Lou Reed & John Cale,
Visionaries,LMNO, T- Love & Iriscience,
Freddie Wadling,
James White and The Blacks,
Jesper Dahlbäck,
Parry Music,
John Coltrane,
The Gun Club,
The Mojo Men,
Public Image Ltd.,
Tears for Fears,
The Remains,
X-101,
Derrick May,
John Holt,
Anthony Braxton,
The Dead C,
The Modern Lovers,
Masters at Work,
Eden Ahbez,
Radiohead,
Crooked Eye,
Howard Jones,
Archie Shepp,
The Beau Brummels,
Suburban Knight,
Quadrant,
Kurtis Blow,
Monolake,
Jacques Brel,
Erasure,
The Raincoats,
The Pretty Things,
Eric B and Rakim,
Whodini,
James Chance & The Contortions,
Roy Ayers Ubiquity,
a-ha,
Khruangbin,
Theoretical Girls,
the Slits,
Infiniti,
Inner City,
Andrew Hill, Andrew Hill, Andrew Hill, Andrew Hill.
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.