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 Dominican Republic and from Shanghai.
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 1977.
I'm losing my edge.
To all the kids in Cairo and Copenhagen.
I'm losing my edge to the art-school Tehran 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 guitar sounds with much patience.
I was there when Michael McDonald 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 Al Stewart to the grime kids.
I played it at the Astoria.
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 Eyeless In Gaza. All the underground hits.
All Ultravox tracks. I heard you have a vinyl of every the Germs 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 '80s cut and another box set from the '80s.
I hear you're buying a marimba and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Tres Demented record.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Shuggie Otis,
Strawberry Alarm Clock,
Easy Going,
Slick Rick,
Harry Pussy,
Goldenarms,
Soul II Soul,
Rhythm & Sound,
Quando Quango,
Mark Hollis,
The Associates,
kango's stein massive,
Bad Manners,
The Skatalites,
Audionom,
Vainqueur,
The Knickerbockers,
The Tremeloes,
La Düsseldorf,
Pantytec,
Rites of Spring,
Masters at Work,
Lebanon Hanover,
Lou Christie,
Liaisons Dangereuses,
Roxy Music,
B.T. Express,
T.S.O.L.,
June of 44,
PIL,
Mission of Burma,
Crash Course in Science,
Nas,
Stereo Dub,
Black Bananas,
Henry Cow,
Fifty Foot Hose,
Yaz,
The Fortunes,
Lyres,
Ten City,
48th St. Collective,
Stockholm Monsters,
Aural Exciters,
Flash Fearless,
Radiopuhelimet,
Neil Young,
Visage,
Scientists,
Robert Wyatt,
the Human League,
Derrick Morgan,
Avey Tare's Slasher Flicks,
Suicide,
Sam Rivers,
Bang On A Can,
Dead Boys,
Drive Like Jehu,
The Cowsills,
Pagans,
Black Sheep,
MDC, MDC, MDC, MDC.
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.