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 Sri Lanka and from Delhi.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Copenhagen and Shanghai.
I'm losing my edge to the art-school Woodstock 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 marimba sounds with much patience.
I was there when Captain Beefheart 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 Icehouse to the funk 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 The Alarm Clocks. All the underground hits.
All Youth Brigade tracks. I heard you have a vinyl of every Khruangbin 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 '60s cut and another box set from the '70s.
I hear you're buying a spring reverb and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Radiopuhelimet record.
I hear that you and your band have sold your güiro and bought a sitar.
I hear that you and your band have sold your sitar and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Model 500,
The Gap Band,
Major Organ And The Adding Machine,
Piero Umiliani,
Y Pants,
Goldenarms,
Banda Bassotti,
Section 25,
Grandmaster Flash and the Furious Five,
Tubeway Army,
Half Japanese,
The Velvet Underground,
Adolescents,
Parry Music,
Henry Cow,
Joyce Sims,
Camouflage,
Wally Richardson,
London Community Gospel Choir,
A Certain Ratio,
Red Lorry Yellow Lorry,
Sticky Fingaz feat. Raekwon,
Chris & Cosey,
Black Sheep,
AZ,
LL Cool J,
Wire,
Larry & the Blue Notes,
Eurythmics,
Babytalk,
Magma,
Sight & Sound,
Donny Hathaway,
Andrew Hill,
Dead Boys,
Cal Tjader,
The Skatalites,
Loose Ends,
Selector Dub Narcotic,
Barrington Levy,
The Cosmic Jokers,
Robert Görl,
A Flock of Seagulls,
Motorama,
Ajijia Myrayebe,
Echospace,
Johnny Osbourne,
Danielle Patucci,
Warsaw,
Siouxsie and the Banshees,
Traffic Nightmare,
Soulsonic Force,
Marmalade,
Faraquet,
Robert Wyatt,
Dave Gahan,
Swans,
Max Romeo,
China Crisis,
Sun City Girls,
Dorothy Ashby,
Lou Christie,
Bush Tetras, Bush Tetras, Bush Tetras, Bush Tetras.
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.