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 Mauritius and from Sao Paulo.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Columbus and Milan.
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 güiro sounds with much patience.
I was there when Donald Fagen 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 Jandek to the funk 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 Mark Hollis. All the underground hits.
All Black Sheep tracks. I heard you have a vinyl of every Talk Talk record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a 808 and an organ and are throwing your macbook out the window because you want to make something real. You want to make a UT record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Robert Wyatt,
Kauko Röyhkä ja Narttu,
The Fugs,
48th St. Collective,
B.T. Express,
Leonard Cohen,
Echo & the Bunnymen,
Alice Coltrane,
Vainqueur,
Grandmaster Flash,
Howard Jones,
The Last Poets,
The Techniques,
Sällskapet,
the Bar-Kays,
Johnny Clarke,
The Angels of Light,
Kool Moe Dee,
Oblivians,
The Kinks,
Blancmange,
Sam Rivers,
Au Pairs,
Henry Cow,
Crime,
The Fuzztones,
De La Soul & Jungle Brothers,
Deepchord,
The Trojans,
The Red Krayola,
Visionaries,LMNO, T- Love & Iriscience,
Yaz,
Chris & Cosey,
Max Romeo,
Magazine,
Main Source,
Liliput,
Camron Feat. Memphis Bleek And Beenie Seigel,
Major Organ And The Adding Machine,
Motorama,
Youth Brigade,
Magma,
Adolescents,
JFA,
Cheater Slicks,
Aural Exciters,
Joe Finger,
Sarah Menescal,
Amazonics,
Harry Pussy,
F. McDonald,
The Velvet Underground,
Ponytail,
Brothers Johnson,
Faraquet,
Sad Lovers and Giants,
Masters at Work,
Buzzcocks,
MDC,
Pulsallama,
Sonny Sharrock,
James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions.
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.