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 New Zealand and from Woodstock.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1965 to 1973.
I'm losing my edge.
To all the kids in New York and Accra.
I'm losing my edge to the art-school Manchester 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 harpsichord sounds with much patience.
I was there when Tom Verlaine 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 Todd Terry to the techno 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 A Flock of Seagulls. All the underground hits.
All the Germs tracks. I heard you have a vinyl of every Super Lover Cee & Casanova Rud record on German import.
I heard that you have a white label of every seminal rap 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 theremin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Porter Ricks record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lindisfarne,
Japan,
Donald Byrd,
Sandy B,
Excepter,
Fluxion,
Q65,
Motorama,
Hot Snakes,
John Foxx,
The Fuzztones,
the Soft Cell,
The Music Machine,
The Sound,
The Pop Group,
Robert Görl,
Jeru the Damaja,
Warren Ellis,
Model 500,
Brand Nubian,
Lou Christie,
Erykah Badu,
Arthur Verocai,
The Gladiators,
The Invisible,
Buzzcocks,
Manfred Mann's Earth Band,
Deepchord,
Icehouse,
Black Moon,
Selector Dub Narcotic,
The Dave Clark Five,
Make Up,
Robert Hood,
X-Ray Spex,
Dead Boys,
Kauko Röyhkä ja Narttu,
Sad Lovers and Giants,
Tres Demented,
Echospace,
Delta 5,
Bill Near,
UT,
Cabaret Voltaire,
Ralphi Rosario,
Vainqueur,
Marmalade,
R.M.O.,
The Modern Lovers,
Amon Düül II,
Fat Boys,
Gastr Del Sol,
Colin Newman,
Camberwell Now,
U.S. Maple,
The Toasters,
Ultravox,
Rod Modell,
Bill Wells,
Anthony Braxton,
De La Soul & Jungle Brothers,
Pagans,
The Black Dice, The Black Dice, The Black Dice, The Black Dice.
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.