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 Nauru and from Portland.
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 1967 to 1977.
I'm losing my edge.
To all the kids in Milan and London.
I'm losing my edge to the art-school Edmonton 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 Wire practice in a loft in Watford.
I was working on the güiro sounds with much patience.
I was there when David Bowie 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 Larry & the Blue Notes to the rock 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 Eden Ahbez. All the underground hits.
All Eddi Front tracks. I heard you have a vinyl of every Deepchord record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a spring reverb and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a R.M.O. record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sad Lovers and Giants,
Spandau Ballet,
The Alarm Clocks,
The Selecter,
Ituana,
Andrew Hill,
The Barracudas,
Faust,
Absolute Body Control,
Deadbeat,
The Happenings,
The Grass Roots,
Y Pants,
Smog,
The Blackbyrds,
UT,
the Human League,
Peter and Kerry,
Basic Channel,
The Gun Club,
Don Cherry,
Sun Ra,
World's Most,
the Germs,
The Fall,
Kool G Rap & DJ Polo,
The Litter,
Avey Tare's Slasher Flicks,
Guru Guru,
Kings Of Tomorrow,
Wighnomy Brothers & Robag Wruhme,
Boogie Down Productions,
Janne Schatter,
Popol Vuh,
JFA,
Black Pus,
In Retrospect,
Unrelated Segments,
Bill Wells,
Circle Jerks,
Idris Muhammad,
Bobbi Humphrey,
Frankie Knuckles,
Flash Fearless,
Wasted Youth,
Ultra Naté,
Pharaoh Sanders and the Fire Engines,
Rod Modell,
Babytalk,
The Moleskins,
the Fania All-Stars,
Rosa Yemen,
Television,
Rahsaan Roland Kirk,
Erasure,
Rapeman,
Albert Ayler,
Nick Cave & The Bad Seeds,
The Evens,
Tres Demented,
The Gap Band,
Fela Kuti, Fela Kuti, Fela Kuti, Fela Kuti.
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.