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 Denmark and from Spokane.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1978.
I'm losing my edge.
To all the kids in Stockholm and Toronto.
I'm losing my edge to the art-school New York 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 1970 at the first Onyeabor practice in a loft in Enugu.
I was working on the arpeggiator sounds with much patience.
I was there when Robert Palmer 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 Grey Daturas to the grime kids.
I played it at the Roxy.
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 Los Fastidios. All the underground hits.
All Jerry's Kids tracks. I heard you have a vinyl of every Bauhaus record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a theremin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Surgeon record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Kinks,
Sonny Sharrock,
The Grass Roots,
KRS-One,
Scratch Acid,
Ten City,
Terrestrial Tones,
Saccharine Trust,
Boz Scaggs,
Radiopuhelimet,
Richard Hell and the Voidoids,
Electric Light Orchestra,
In Retrospect,
John Holt,
Art Ensemble Of Chicago,
Reagan Youth,
Bootsy's Rubber Band,
X-Ray Spex,
Rahsaan Roland Kirk,
Bill Wells,
Yellowson,
Fort Wilson Riot,
New Age Steppers,
Lyres,
Bootsy Collins,
Cluster,
The Index,
Popol Vuh,
Susan Cadogan,
Dead Boys,
Boogie Down Productions,
Das Ding,
Strawberry Alarm Clock,
Fluxion,
Jacob Miller,
Easy Going,
The Fortunes,
Bush Tetras,
Archie Shepp,
Sarah Menescal,
John Lydon,
Neil Young,
Yaz,
The Residents,
The Skatalites,
Rapeman,
Sound Behaviour,
James White and The Blacks,
Thee Headcoats,
Brass Construction,
Radiohead,
Rowland S Howard / Lydia Lunch,
Ludus,
The Black Dice,
Depeche Mode,
T.S.O.L.,
Teenage Jesus and the Jerks,
Soul II Soul,
Maleditus Sound,
Camberwell Now,
Jerry Gold Smith,
The Mojo Men,
The Moleskins,
Motorama, Motorama, Motorama, Motorama.
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.