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 Sweden and from Woodstock.
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 1969 to 1978.
I'm losing my edge.
To all the kids in Glasgow and Johannesburg.
I'm losing my edge to the art-school Delhi 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 1984 at the first Arcadia practice in a loft in London.
I was working on the 808 sounds with much patience.
I was there when Tom Verlaine 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 Livin' Joy to the electroclash kids.
I played it at the Spitz.
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 Ten City. All the underground hits.
All Kango’s Stein Massive tracks. I heard you have a vinyl of every Harry Pussy 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 '70s cut and another box set from the '70s.
I hear you're buying a guitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Juan Atkins record.
I hear that you and your band have sold your guitar and bought a marimba.
I hear that you and your band have sold your marimba and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Parry Music,
Hardrive,
The Seeds,
The Chocolate Watch Band,
James Chance & The Contortions,
Eyeless In Gaza,
Public Enemy,
Glambeats Corp.,
Model 500,
Avey Tare & Kría Brekkan,
Aswad,
Pharaoh Sanders and the Fire Engines,
Index,
The Dirtbombs,
Lafayette Afro Rock Band,
cv313,
The Men They Couldn't Hang,
Flipper,
The Velvet Underground,
Malaria!,
Angels of Light & Akron/Family,
The Evens,
Quadrant,
Gichy Dan,
Qualms,
Infiniti,
Procol Harum,
Kaleidoscope,
Pagans,
The Techniques,
Circle Jerks,
Kenny Larkin,
K-Klass,
Drive Like Jehu,
It's A Beautiful Day,
Vaughan Mason & Crew,
The Invisible,
Toni Rubio,
Ultra Naté,
Rakim,
Arcadia,
Andrew Ashong & Theo Parrish,
Slave,
LL Cool J,
Sight & Sound,
The Sisters of Mercy,
James White and The Blacks,
Lower 48,
Lebanon Hanover,
UT,
Bobby Hutcherson,
Jesper Dahlbäck,
These Immortal Souls,
Rufus Thomas,
Reuben Wilson,
Avey Tare,
Cymande,
Gang of Four,
Saccharine Trust,
Excepter,
Arab on Radar,
The Wake,
Urselle, Urselle, Urselle, Urselle.
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.