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 Korea South 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 1963 to 1978.
I'm losing my edge.
To all the kids in Glasgow and Philadelphia.
I'm losing my edge to the art-school Bremen 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 Buzzcocks practice in a loft in Bolton.
I was working on the chamberlin sounds with much patience.
I was there when Robert Palmer 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 Connie Case to the crunk 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 U.S. Maple. All the underground hits.
All Crime tracks. I heard you have a vinyl of every The Golliwogs record on German import.
I heard that you have a white label of every seminal rock 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 clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Arthur Verocai record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marmalade,
Archie Shepp,
Little Man,
Jandek,
Eli Mardock,
Hasil Adkins,
Siouxsie and the Banshees,
Colin Newman,
Danielle Patucci,
Pussy Galore,
U.S. Maple,
The Trojans,
Gil Scott Heron,
Godley & Creme,
Popol Vuh,
Amon Düül II,
The Motions,
Country Teasers,
Cheater Slicks,
Bang on a Can All-Stars,
Wire,
Roger Hodgson,
Roy Ayers Ubiquity,
Lalo Schifrin,
Organ,
Electric Light Orchestra,
Beasts of Bourbon,
Crooked Eye,
Blancmange,
June of 44,
Model 500,
Black Moon,
Rites of Spring,
Stereo Dub,
Nico,
Minny Pops,
Kauko Röyhkä ja Narttu,
The Knickerbockers,
the Normal,
Scott Walker + Sunn O))),
The Leaves,
Slave,
Desert Stars,
Lakeside,
June Days,
The Gories,
Man Parrish,
The Beau Brummels,
Ralphi Rosario,
Lee Hazlewood,
Simply Red,
Drexciya,
The Sound,
The Durutti Column,
The Victims,
Pharoah Sanders,
L. Decosne,
Traffic Nightmare,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Marcia Griffiths,
Smog,
Blake Baxter, Blake Baxter, Blake Baxter, Blake Baxter.
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.