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 India and from Tokyo.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Columbus and Woodstock.
I'm losing my edge to the art-school Glasgow 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the synthesizer 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 Lee Hazlewood to the jazz kids.
I played it at CBGB's.
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 Ten City. All the underground hits.
All Gang Gang Dance tracks. I heard you have a vinyl of every Warsaw record on German import.
I heard that you have a white label of every seminal electroclash 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 mellotron and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Kango’s Stein Massive record.
I hear that you and your band have sold your guitar and bought an oboe.
I hear that you and your band have sold your oboe and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Louis and Bebe Barron,
Roxy Music,
Grandmaster Flash and the Furious Five,
Gil Scott Heron,
Dorothy Ashby,
Q and Not U,
The Zeros,
Amazonics,
Joey Negro,
Duran Duran,
Peter and Kerry,
Gong,
Beasts of Bourbon,
Eurythmics,
Soul II Soul,
The Names,
Sight & Sound,
It's A Beautiful Day,
Sixth Finger,
The Buckinghams,
Lower 48,
Scratch Acid,
the Slits,
Ornette Coleman,
The Monks,
DNA,
The Fire Engines,
Jawbox,
The Doors,
Glambeats Corp.,
The Saints,
Camouflage,
Mandrill,
Josef K,
Suicide,
Kevin Saunderson,
Moss Icon,
Delta 5,
Letta Mbulu,
the Swans,
Bad Manners,
The Alarm Clocks,
Ash Ra Tempel,
Loose Ends,
PIL,
Darondo,
Rhythim Is Rhythim,
Lou Reed,
Cabaret Voltaire,
Oppenheimer Analysis,
Half Japanese,
Harry Pussy,
Eden Ahbez,
The Jesus and Mary Chain,
Wire,
Al Stewart,
Jeff Lynne,
John Coltrane,
Avey Tare & Kría Brekkan,
Susan Cadogan,
Arthur Verocai,
Harpers Bizarre, Harpers Bizarre, Harpers Bizarre, Harpers Bizarre.
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.