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 Armenia and from Sao Paulo.
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 1963 to 1971.
I'm losing my edge.
To all the kids in Lyon and Edmonton.
I'm losing my edge to the art-school Portland 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 1978 at the first Visage practice in a loft in London.
I was working on the snare sounds with much patience.
I was there when Donald Fagen 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 Bill Near to the rock kids.
I played it at the Crocodile.
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 Soft Machine. All the underground hits.
All R.M.O. tracks. I heard you have a vinyl of every Soul Sonic Force record on German import.
I heard that you have a white label of every seminal dance 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 marimba and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Tom Boy record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Flamin' Groovies,
Pole,
The Vogues,
Man Parrish,
Tim Buckley,
B.T. Express,
Dual Sessions,
Gian Franco Pienzio,
X-102,
Echo & the Bunnymen,
Ten City,
Lakeside,
Brand Nubian,
Eyeless In Gaza,
Orchestral Manoeuvres in the Dark,
Matthew Bourne,
Yazoo,
Throbbing Gristle,
The Slits,
Notorious Big And Bone Thugs,
The Standells,
Crispian St. Peters,
Angry Samoans,
Trumans Water,
Echospace,
Barry Ungar,
Popol Vuh,
Circle Jerks,
Pierre Henry,
Young Marble Giants,
Aloha Tigers,
Easy Going,
Minny Pops,
Bobby Sherman,
ABC,
The Misunderstood,
Gregory Isaacs,
Interpol,
Peter and Kerry,
Roy Ayers Ubiquity,
Simply Red,
The Tremeloes,
Liaisons Dangereuses,
Sixth Finger,
DeepChord presents Echospace,
Camberwell Now,
One Last Wish,
Shoche,
Sex Pistols,
The Cosmic Jokers,
Danielle Patucci,
Slick Rick,
Arcadia,
H. Thieme,
CMW,
Ash Ra Tempel,
The Fire Engines,
Bobby Hutcherson,
Brick,
Ronnie Foster,
Kings Of Tomorrow,
Agitation Free, Agitation Free, Agitation Free, Agitation Free.
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.