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 Tanzania and from Philadelphia.
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 1968 to 1977.
I'm losing my edge.
To all the kids in Halifax and Glasgow.
I'm losing my edge to the art-school Madrid 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 1978 at the first Visage practice in a loft in London.
I was working on the spring reverb 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 Vaughan Mason & Crew to the techno kids.
I played it at the Astoria.
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 The Selecter. All the underground hits.
All Wings tracks. I heard you have a vinyl of every Darondo 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 '50s cut and another box set from the '90s.
I hear you're buying an organ and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Minor Threat record.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Moleskins,
Terror Squad Feat. Camron,
Thinking Fellers Union Local 282,
The Divine Comedy,
Saccharine Trust,
Newcleus,
Lindisfarne,
Lonnie Liston Smith,
Zero Boys,
Joe Smooth,
Dual Sessions,
48th St. Collective,
Bob Dylan,
F. McDonald,
B.T. Express,
K-Klass,
Au Pairs,
Q65,
Jeff Lynne,
Yellowson,
Ken Boothe,
The Red Krayola,
Negative Approach,
Mad Mike,
Scratch Acid,
Arthur Verocai,
Frankie Knuckles,
The Doors,
Angry Samoans,
Maurizio,
Joey Negro,
Justin Hinds & The Dominoes,
Harmonia,
Peter and Kerry,
Essential Logic,
Maleditus Sound,
Lalann,
Sly & The Family Stone,
Grandmaster Flash and the Furious Five,
Andrew Ashong & Theo Parrish,
DNA,
Jeru the Damaja,
Quantec,
Y Pants,
the Association,
Bad Manners,
Sad Lovers and Giants,
Monks,
Delon & Dalcan,
8 Eyed Spy,
Kas Product,
Erasure,
Los Fastidios,
John Cale,
The Gories,
Cluster,
Porter Ricks,
Slave,
Pussy Galore,
The Misunderstood,
Cal Tjader,
Moss Icon,
The Dead C, The Dead C, The Dead C, The Dead C.
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.