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 Libya and from Lagos.
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 1977.
I'm losing my edge.
To all the kids in Lille and Bologna.
I'm losing my edge to the art-school Taipei 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 Bronski Beat practice in a loft in Brixton.
I was working on the linndrum 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 The Raincoats to the electroclash kids.
I played it at the 40 Watt.
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 The Beau Brummels. All the underground hits.
All Lebanon Hanover tracks. I heard you have a vinyl of every Gary Puckett & The Union Gap record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a clarinet and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Arthur Verocai record.
I hear that you and your band have sold your mellotron and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kango’s Stein Massive,
Scratch Acid,
Magazine,
Cheater Slicks,
New Age Steppers,
E-Dancer,
The Fire Engines,
Max Romeo,
Iggy Pop,
Black Pus,
Ronnie Foster,
Parry Music,
Dark Day,
Kenny Larkin,
Barbara Tucker,
Sixth Finger,
These Immortal Souls,
The Divine Comedy,
Funky Four + One,
Roger Hodgson,
Janne Schatter,
Stereo Dub,
Sad Lovers and Giants,
Notorious BIG live in Amsterdam,
Lalann,
Junior Murvin,
Desert Stars,
Mad Mike,
London Community Gospel Choir,
Anakelly,
The Fugs,
Leonard Cohen,
Khruangbin,
Joensuu 1685,
Ken Boothe,
Mr. Review,
T.S.O.L.,
The Music Machine,
David McCallum,
Röyhkä ja Rättö ja Lehtisalo,
The Dave Clark Five,
Wighnomy Brothers & Robag Wruhme,
Bauhaus,
Aaron Thompson,
Oneida,
Masters at Work,
Rapeman,
Althea and Donna,
Gastr Del Sol,
Scion,
Eve St. Jones,
the Bar-Kays,
Infiniti,
OOIOO,
the Sonics,
Rod Modell,
The Index,
Intrusion,
Kerrie Biddell,
Alton Ellis,
Amon Düül,
Mo-Dettes, Mo-Dettes, Mo-Dettes, Mo-Dettes.
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.