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 Seychelles and from Stockholm.
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 1976.
I'm losing my edge.
To all the kids in Paris and Columbus.
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 1979 at the first Second Layer practice in a loft in South London.
I was working on the theremin 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 The Beau Brummels to the techno 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 Quando Quango. All the underground hits.
All Beasts of Bourbon tracks. I heard you have a vinyl of every Dead Boys record on German import.
I heard that you have a white label of every seminal grime 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 808 and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Harmonia record.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bootsy Collins,
Sparks,
Khruangbin,
Peter and Kerry,
Oblivians,
The Busters,
Ludus,
Symarip,
Al Stewart,
Sällskapet,
The Searchers,
R.M.O.,
The Smoke,
Kango’s Stein Massive,
Matthew Bourne,
John Cale,
Delon & Dalcan,
E-Dancer,
Saccharine Trust,
Deepchord,
The Fire Engines,
Unwound,
Von Mondo,
48th St. Collective,
Fatback Band,
Pet Shop Boys,
Darondo,
Sonny Sharrock,
Chrome,
Basic Channel,
Spoonie Gee,
Bobby Byrd,
Gang Gang Dance,
Eyeless In Gaza,
Swans,
Altered Images,
Laurel Aitken,
Fela Kuti,
D'Angelo,
Rites of Spring,
Gong,
Crash Course in Science,
Porter Ricks,
Röyhkä ja Rättö ja Lehtisalo,
The Smiths,
Japan,
Metal Thangz,
Thee Headcoats,
Erasure,
The Gories,
The Cosmic Jokers,
The West Coast Pop Art Experimental Band,
Interpol,
Fluxion,
Rosa Yemen,
John Holt,
Tropical Tobacco,
Super Lover Cee & Casanova Rud,
Rod Modell,
Echospace,
Art Ensemble Of Chicago,
Albert Ayler,
Jeff Lynne,
Tommy Roe, Tommy Roe, Tommy Roe, Tommy Roe.
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.