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 Rwanda and from Seoul.
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 1968 to 1976.
I'm losing my edge.
To all the kids in Shanghai and Jakarta.
I'm losing my edge to the art-school New York 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 sitar sounds with much patience.
I was there when Nile Rodgers 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 Fort Wilson Riot to the grunge 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 Sound Behaviour. All the underground hits.
All James White and The Blacks tracks. I heard you have a vinyl of every Godley & Creme record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a snare and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Country Teasers record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soft Cell,
The Modern Lovers,
June Days,
David Axelrod,
Boredoms,
Major Organ And The Adding Machine,
Fifty Foot Hose,
Bang On A Can,
Masters at Work,
Rod Modell,
Subhumans,
Talk Talk,
Index,
Roxette,
Crime,
Donald Byrd,
The Flesh Eaters,
Sun City Girls,
Franke,
The Young Rascals,
Matthew Halsall,
PIL,
Sly & The Family Stone,
Altered Images,
The Fuzztones,
EPMD,
Avey Tare & Kría Brekkan,
Severed Heads,
Desert Stars,
Skarface,
Radio Birdman,
Terry Callier,
Lee Hazlewood,
R.M.O.,
Roger Hodgson,
In Retrospect,
The Remains,
Tears for Fears,
Tropical Tobacco,
Ralphi Rosario,
Mary Jane Girls,
Dead Boys,
Lafayette Afro Rock Band,
The Golliwogs,
Frankie Knuckles,
the Slits,
Zapp,
Reuben Wilson,
Kurtis Blow,
Supertramp,
Infiniti,
Gil Scott-Heron & Brian Jackson,
Joyce Sims,
Lungfish,
Deakin,
Erykah Badu,
Khruangbin,
The Alarm Clocks,
Black Sheep,
A Certain Ratio,
a-ha, a-ha, a-ha, a-ha.
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.