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 Bhutan and from Seoul.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1964 to 1974.
I'm losing my edge.
To all the kids in New York and Mumbai.
I'm losing my edge to the art-school Houston 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 1970 at the first Onyeabor practice in a loft in Enugu.
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 Little Man to the dance 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 Deutsch Amerikanische Freundschaft. All the underground hits.
All Gil Scott Heron tracks. I heard you have a vinyl of every Faraquet 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 '70s cut and another box set from the '90s.
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 Rapeman record.
I hear that you and your band have sold your mellotron and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Yaz,
Rosa Yemen,
The Shadows of Knight,
Nico,
Blancmange,
ABC,
Ludus,
The Dave Clark Five,
Roy Ayers Ubiquity,
Ultramagnetic MC's,
Minor Threat,
Guru Guru,
Crispy Ambulance,
the Soft Cell,
Boogie Down Productions,
Scan 7,
The Modern Lovers,
the Germs,
Hashim,
Loose Ends,
Cal Tjader,
Visionaries,LMNO, T- Love & Iriscience,
Pete Rock & C.L. Smooth,
The Birthday Party,
LL Cool J,
The Doors,
Organ,
Pierre Henry,
Lightning Bolt,
Skarface,
Flipper,
The Angels of Light,
Max Romeo,
The Jesus and Mary Chain,
Black Flag,
Notorious Big And Bone Thugs,
Bobby Hutcherson,
Glambeats Corp.,
Eurythmics,
EPMD,
David McCallum,
Scion,
Iggy Pop,
The Cramps,
Panda Bear,
The Monks,
DJ Style,
Dorothy Ashby,
Lou Reed & Metallica,
Crooked Eye,
James Chance & The Contortions,
Darondo,
Ponytail,
Cluster,
Ultra Naté,
Amon Düül II,
Technova,
Blake Baxter,
Qualms,
Stiv Bators,
Terrestrial Tones,
Bill Wells,
Aural Exciters,
Suburban Knight, Suburban Knight, Suburban Knight, Suburban Knight.
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.