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 Serbia and from Glasgow.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Calgary and Spokane.
I'm losing my edge to the art-school Manila 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the marimba sounds with much patience.
I was there when Lou Reed 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 Johnny Osbourne to the grime 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 Angels of Light. All the underground hits.
All Altered Images tracks. I heard you have a vinyl of every Aswad 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 '60s cut and another box set from the '90s.
I hear you're buying a spring reverb and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Subhumans record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Country Teasers,
Magazine,
Jeru the Damaja,
Siouxsie and the Banshees,
Duran Duran,
John Holt,
Parry Music,
Hardrive,
Scion,
Technova,
Ornette Coleman,
T. Rex,
The Moody Blues,
Tears for Fears,
Joyce Sims,
Joe Finger,
Ralphi Rosario,
Laurel Aitken,
The Skatalites,
Soft Machine,
Pere Ubu,
JFA,
Intrusion,
Derrick Morgan,
Amon Düül II,
Bobby Byrd,
Wally Richardson,
Niagra,
Bobby Hutcherson,
Dorothy Ashby,
Robert Görl,
Youth Brigade,
Godley & Creme,
The Victims,
Gabor Szabo,
Cybotron,
Boz Scaggs,
Eric Copeland,
Guru Guru,
Terror Squad Feat. Camron,
The Shadows of Knight,
Ultra Naté,
Simply Red,
Gerry Rafferty,
Bauhaus,
Barclay James Harvest,
London Community Gospel Choir,
Country Joe & The Fish,
Black Pus,
The Angels of Light,
Crispian St. Peters,
John Foxx,
Justin Hinds & The Dominoes,
Absolute Body Control,
Pet Shop Boys,
Negative Approach,
The Gladiators,
Animal Collective,
Boredoms,
Peter Gordon & Love of Life Orchestra,
Minor Threat, Minor Threat, Minor Threat, Minor Threat.
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.