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 China and from Columbus.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Lille and Manchester.
I'm losing my edge to the art-school Salvador 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the güiro 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 Schoolly D to the rock kids.
I played it at the Hacienda.
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 Mark Hollis. All the underground hits.
All The Durutti Column tracks. I heard you have a vinyl of every Notorious Big And Bone Thugs record on German import.
I heard that you have a white label of every seminal grunge 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 spring reverb and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Arcadia record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Minny Pops,
Black Flag,
Robert Hood,
Suicide,
Connie Case,
Kerri Chandler,
Ultimate Spinach,
DJ Sneak,
Rapeman,
Nik Kershaw,
Wire,
Manfred Mann's Earth Band,
Spandau Ballet,
Avey Tare & Kría Brekkan,
Lyres,
Amon Düül,
Blossom Toes,
Barrington Levy,
Major Organ And The Adding Machine,
A Certain Ratio,
June Days,
John Foxx,
Chris & Cosey,
Kas Product,
Loose Ends,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Johnny Clarke,
Simply Red,
Barbara Tucker,
Mr. Review,
Mary Jane Girls,
Japan,
Morten Harket,
Harmonia,
Slave,
the Normal,
London Community Gospel Choir,
Sällskapet,
Technova,
Little Man,
Ken Boothe,
Peter & Gordon,
Derrick May,
Dawn Penn,
Sam Rivers,
Buzzcocks,
Cecil Taylor,
The Mummies,
Piero Umiliani,
the Germs,
Johnny Osbourne,
Lou Reed & Metallica,
Bobby Sherman,
Aaron Thompson,
The Wake,
Jacob Miller,
Traffic Nightmare,
Masters at Work,
Scan 7,
Schoolly D,
Stereo Dub, Stereo Dub, Stereo Dub, Stereo Dub.
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.