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 Poland and from Madrid.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Stockholm and Lyon.
I'm losing my edge to the art-school London 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 oboe 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 The Smoke 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 F. McDonald. All the underground hits.
All Shuggie Otis tracks. I heard you have a vinyl of every PIL 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 '50s cut and another box set from the '80s.
I hear you're buying a rhodes and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Grauzone record.
I hear that you and your band have sold your sitar and bought a guitar.
I hear that you and your band have sold your guitar and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Selecter,
Aloha Tigers,
Richard Hell and the Voidoids,
Public Image Ltd.,
Bauhaus,
Public Enemy,
Lou Christie,
Accadde A,
The Golliwogs,
Pierre Henry,
Peter and Kerry,
Absolute Body Control,
Sällskapet,
Magma,
Sun Ra,
Flash Fearless,
Grauzone,
Infiniti,
The Fugs,
The Modern Lovers,
Red Lorry Yellow Lorry,
Soul Sonic Force,
Malaria!,
Livin' Joy,
Neu!,
Warren Ellis,
The Divine Comedy,
Johnny Clarke,
the Soft Cell,
OOIOO,
Lou Reed & Metallica,
Matthew Bourne,
Minor Threat,
Vaughan Mason & Crew,
Banda Bassotti,
Agent Orange,
Steve Hackett,
LL Cool J,
Fat Boys,
KRS-One,
Brothers Johnson,
PIL,
Mr. Review,
Terrestrial Tones,
Eve St. Jones,
Angels of Light & Akron/Family,
Excepter,
Lebanon Hanover,
The Vogues,
Siouxsie and the Banshees,
Symarip,
Animal Collective,
Sun City Girls,
Subhumans,
Lungfish,
Idris Muhammad,
Ponytail,
Moby Grape,
Model 500, Model 500, Model 500, Model 500.
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.