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 Ireland and from Glasgow.
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 Halifax and Bremen.
I'm losing my edge to the art-school Winnipeg 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 1984 at the first Arcadia practice in a loft in London.
I was working on the organ 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 Quantec to the funk kids.
I played it at Trash.
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 Bobby Hutcherson. All the underground hits.
All Gong tracks. I heard you have a vinyl of every Rapeman record on German import.
I heard that you have a white label of every seminal disco 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 808 and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Young Marble Giants record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bang On A Can,
Bizarre Inc.,
James Chance & The Contortions,
Sarah Menescal,
Underground Resistance,
The Techniques,
Pete Rock & C.L. Smooth,
Sex Pistols,
Chris Corsano,
Colin Newman,
Brand Nubian,
Goldenarms,
Terry Callier,
The Slits,
Minutemen,
Minnie Riperton,
The Happenings,
Sunsets and Hearts,
the Fania All-Stars,
Barrington Levy,
Minor Threat,
Accadde A,
Inner City,
AZ,
Funky Four + One,
R.M.O.,
The Dave Clark Five,
Lou Reed,
Lizzy Mercier Descloux,
Sad Lovers and Giants,
Ultravox,
Soul Sonic Force,
Eli Mardock,
Adolescents,
Electric Light Orchestra,
Barbara Tucker,
The Moody Blues,
Procol Harum,
Be Bop Deluxe,
Sixth Finger,
a-ha,
Fela Kuti,
Ludus,
Tubeway Army,
Lalo Schifrin,
Robert Hood,
Tres Demented,
John Cale,
Wolf Eyes,
Camron Feat. Memphis Bleek And Beenie Seigel,
Malaria!,
Barclay James Harvest,
The Invisible,
The Monks,
Radio Birdman,
Visage,
Q and Not U,
Gang Gang Dance,
Rhythim Is Rhythim,
The Names,
Panda Bear,
Vladislav Delay,
Joe Finger, Joe Finger, Joe Finger, Joe Finger.
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.