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 Indonesia and from Toronto.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1964 to 1976.
I'm losing my edge.
To all the kids in Taipei and Hong Kong.
I'm losing my edge to the art-school Columbus 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 clarinet 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 Lalo Schifrin to the funk kids.
I played it at the 40 Watt.
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 Rosa Yemen. All the underground hits.
All Danielle Patucci tracks. I heard you have a vinyl of every Lakeside record on German import.
I heard that you have a white label of every seminal funk 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 snare and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a John Cale record.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Peter and Kerry,
Art Ensemble Of Chicago,
E-Dancer,
Jacques Brel,
Gil Scott-Heron and Jamie xx,
Ronnie Foster,
Bang on a Can All-Stars,
Saccharine Trust,
Scrapy,
Boogie Down Productions,
The Chocolate Watch Band,
Fort Wilson Riot,
Marmalade,
Jimmy McGriff,
Rufus Thomas,
The Blackbyrds,
Maurizio,
B.T. Express,
Bootsy Collins,
Joe Smooth,
Livin' Joy,
Louis and Bebe Barron,
Siouxsie and the Banshees,
Danielle Patucci,
Reuben Wilson,
The Red Krayola,
Make Up,
Bronski Beat,
Suicide,
Kayak,
June Days,
The Alarm Clocks,
The West Coast Pop Art Experimental Band,
Audionom,
Arcadia,
ABBA,
The Selecter,
The Cure,
The Moleskins,
Marshall Jefferson,
Shoche,
Khruangbin,
EPMD,
Chrome,
Gabor Szabo,
Beasts of Bourbon,
Charles Mingus,
Youth Brigade,
Yellowson,
Infiniti,
New York Dolls,
Mandrill,
Albert Ayler,
The Index,
Wings,
Nation of Ulysses,
Fatback Band,
Deadbeat,
X-102,
Pylon,
Jesper Dahlback,
Brick,
Nas,
Hoover, Hoover, Hoover, Hoover.
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.