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 Bolivia and from London.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Madrid and Calgary.
I'm losing my edge to the art-school Columbus 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 1970 at the first Onyeabor practice in a loft in Enugu.
I was working on the spring reverb 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 Eve St. Jones to the grunge kids.
I played it at Cafe Wha.
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 John Lydon. All the underground hits.
All Black Moon tracks. I heard you have a vinyl of every Deutsch Amerikanische Freundschaft 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 '70s cut and another box set from the '80s.
I hear you're buying a snare and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Motions record.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Graham Central Station,
The Doors,
Subhumans,
David McCallum,
Juan Atkins,
Roxette,
Gastr Del Sol,
Robert Hood,
Scrapy,
Peter & Gordon,
Aaron Thompson,
Louis and Bebe Barron,
10cc,
48th St. Collective,
The Trojans,
Icehouse,
Angels of Light & Akron/Family,
Banda Bassotti,
Flamin' Groovies,
Young Marble Giants,
Mark Hollis,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Seeds,
Sarah Menescal,
Soul II Soul,
Teenage Jesus and the Jerks,
Swans,
Bob Dylan,
The Cure,
Kas Product,
Joy Division,
Henry Cow,
Blancmange,
Derrick Morgan,
DeepChord presents Echospace,
Lucky Dragons,
Rosa Yemen,
Livin' Joy,
Connie Case,
Chris & Cosey,
F. McDonald,
Talk Talk,
Lightning Bolt,
Intrusion,
The Grass Roots,
Adolescents,
The Neon Judgement,
Pole,
Dr. Dre and Snoop Doggy Dog,
Depeche Mode,
Bobby Sherman,
The Sonics,
Yusef Lateef,
Gerry Rafferty,
Grauzone,
Lou Reed & John Cale,
Crooked Eye,
Desert Stars,
Siglo XX,
Cymande,
Rufus Thomas,
James Chance & The Contortions,
Youth Brigade,
Trumans Water, Trumans Water, Trumans Water, Trumans Water.
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.