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 Bolivia and from Manchester.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Taipei and Portland.
I'm losing my edge to the art-school Halifax 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 1976 at the first Wire practice in a loft in Watford.
I was working on the rhodes sounds with much patience.
I was there when David Bowie 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 Ossler to the electroclash kids.
I played it at the Troubador.
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 Animal Collective. All the underground hits.
All Mark Hollis tracks. I heard you have a vinyl of every Marshall Jefferson 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 synthesizer and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Smog record.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mark Hollis,
Ralphi Rosario,
Deutsch Amerikanische Freundschaft,
kango's stein massive,
Jawbox,
Crispian St. Peters,
DJ Style,
CMW,
Stiv Bators,
Scan 7,
Bootsy's Rubber Band,
Stetsasonic,
The Dead C,
Kool G Rap & DJ Polo,
Echo & the Bunnymen,
Art Ensemble Of Chicago,
Gabor Szabo,
Manfred Mann's Earth Band,
Aaron Thompson,
Beasts of Bourbon,
London Community Gospel Choir,
Wings,
Camberwell Now,
Nation of Ulysses,
New York Dolls,
Section 25,
Leonard Cohen,
Lou Reed & John Cale,
OOIOO,
Prince Buster,
Tomorrow,
The Victims,
Lakeside,
Major Organ And The Adding Machine,
Heaven 17,
Jesper Dahlback,
Sam Rivers,
The Beau Brummels,
Severed Heads,
Tom Boy,
Janne Schatter,
the Human League,
Ice-T,
Hardrive,
Porter Ricks,
the Bar-Kays,
Radiopuhelimet,
Fat Boys,
The Techniques,
June Days,
Angels of Light & Akron/Family,
Monolake,
Negative Approach,
Nick Fraelich,
Darondo,
The Fuzztones,
Ossler,
Gerry Rafferty,
Visage,
Buzzcocks,
The Trojans,
Urselle, Urselle, Urselle, Urselle.
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.