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 Micronesia and from Manila.
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 1965 to 1975.
I'm losing my edge.
To all the kids in Bologna and Delhi.
I'm losing my edge to the art-school Copenhagen 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the harpsichord sounds with much patience.
I was there when Michael McDonald 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 Nik Kershaw to the electroclash kids.
I played it at the Hacienda.
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 Banda Bassotti. All the underground hits.
All Black Pus tracks. I heard you have a vinyl of every La Düsseldorf record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a snare and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Franke record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roy Ayers Ubiquity,
Todd Terry,
Orchestral Manoeuvres in the Dark,
Magazine,
Johnny Osbourne,
Lower 48,
Thompson Twins,
Flamin' Groovies,
Gian Franco Pienzio,
Ituana,
Bang on a Can All-Stars,
the Association,
David Bowie,
Freddie Wadling,
Jeff Mills,
The Velvet Underground,
Hashim,
Notorious Big And Bone Thugs,
The Busters,
The Moleskins,
Prince Buster,
Mission of Burma,
Loose Ends,
Easy Going,
The Seeds,
Piero Umiliani,
The Grass Roots,
Jandek,
Camron Feat. Jay Z And Juelz,
Lou Christie,
Bobby Byrd,
The Chocolate Watch Band,
Larry & the Blue Notes,
Heaven 17,
Josef K,
Marc Romboy vs. Booka Shade,
Mantronix,
Man Parrish,
Sandy B,
Amazonics,
Khruangbin,
Quantec,
Bootsy Collins,
B.T. Express,
D'Angelo,
Amon Düül II,
Ken Boothe,
Subhumans,
The Black Dice,
Soul Sonic Force,
Lebanon Hanover,
James White and The Blacks,
Patti Smith,
Y Pants,
Black Bananas,
Ohio Players,
The Blues Magoos,
Q65,
The Birthday Party,
Laurel Aitken,
Henry Cow,
Absolute Body Control, Absolute Body Control, Absolute Body Control, Absolute Body Control.
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.