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 Ivory Coast and from Hong Kong.
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 1978.
I'm losing my edge.
To all the kids in Hong Kong and Jakarta.
I'm losing my edge to the art-school Shanghai 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 Art of Noise practice in a loft in London.
I was working on the clarinet 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 Gil Scott Heron to the grunge kids.
I played it at CBGB's.
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 Pulsallama. All the underground hits.
All The Fall tracks. I heard you have a vinyl of every Pharaoh Sanders and the Fire Engines 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 '60s cut and another box set from the '90s.
I hear you're buying a harpsichord and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Boredoms record.
I hear that you and your band have sold your sitar and bought an organ.
I hear that you and your band have sold your organ and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ornette Coleman,
Joe Smooth,
The Vogues,
The Barracudas,
Hardrive,
The Chocolate Watch Band,
Dead Boys,
In Retrospect,
Royal Trux,
The Divine Comedy,
Soul II Soul,
Minnie Riperton,
Man Eating Sloth,
The Blues Magoos,
Ultramagnetic MC's,
Byron Stingily,
Maleditus Sound,
Mr. Review,
Beasts of Bourbon,
The Stooges,
Flipper,
The Selecter,
Dual Sessions,
Swell Maps,
Super Lover Cee & Casanova Rud,
Chrome,
Ralphi Rosario,
Roger Hodgson,
The Walker Brothers,
The Fuzztones,
Eric Copeland,
Can,
The Royal Family And The Poor,
Warren Ellis,
Saccharine Trust,
Interpol,
Minor Threat,
Eden Ahbez,
Gang Starr,
Black Bananas,
Sixth Finger,
Lou Reed,
The Knickerbockers,
Model 500,
Masters at Work,
The Detroit Cobras,
Second Layer,
Echospace,
Banda Bassotti,
Altered Images,
Jerry's Kids,
The Fortunes,
Alison Limerick,
Sister Nancy,
The Angels of Light,
The Peanut Butter Conspiracy,
Inner City,
Major Organ And The Adding Machine,
Rosa Yemen,
Peter and Kerry,
Sam Rivers,
Dave Gahan,
James White and The Blacks, James White and The Blacks, James White and The Blacks, James White and The Blacks.
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.