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 United States and from Beijing.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1975.
I'm losing my edge.
To all the kids in Bologna and Johannesburg.
I'm losing my edge to the art-school Cairo 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 organ 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 Motorama to the crunk kids.
I played it at the Troubador.
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 Joey Negro. All the underground hits.
All Half Japanese tracks. I heard you have a vinyl of every Nik Kershaw record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a güiro and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Charles Mingus record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Tremeloes,
Robert Hood,
Harpers Bizarre,
Camberwell Now,
The Saints,
Soft Machine,
K-Klass,
Lebanon Hanover,
Gary Puckett & The Union Gap,
Aswad,
10cc,
New Order,
X-102,
The Electric Prunes,
Tom Boy,
Black Pus,
Henry Cow,
A Flock of Seagulls,
Eli Mardock,
Minny Pops,
The Men They Couldn't Hang,
Negative Approach,
Scientists,
Black Moon,
The Zeros,
Bobby Womack,
De La Soul & Jungle Brothers,
Black Flag,
Terrestrial Tones,
Interpol,
The Alarm Clocks,
Johnny Osbourne,
Rhythm & Sound,
Roger Hodgson,
Flash Fearless,
Wasted Youth,
Stetsasonic,
The Mighty Diamonds,
The Index,
Wire,
The Martian,
Blancmange,
Arcadia,
Jawbox,
Harmonia,
The Moody Blues,
Cabaret Voltaire,
John Foxx,
Mary Jane Girls,
Swans,
Tres Demented,
Ossler,
Notorious Big And Bone Thugs,
The Searchers,
Pantytec,
The Fire Engines,
Lizzy Mercier Descloux,
Morten Harket,
Zero Boys,
Visionaries,LMNO, T- Love & Iriscience,
The Peanut Butter Conspiracy,
Nas, Nas, Nas, Nas.
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.