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 Tonga and from Seoul.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1974.
I'm losing my edge.
To all the kids in Tokyo and Glasgow.
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 1970 at the first Onyeabor practice in a loft in Enugu.
I was working on the linndrum sounds with much patience.
I was there when Robert Palmer 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 West Coast Pop Art Experimental Band to the techno kids.
I played it at the Roxy.
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 Chocolate Watch Band tracks. I heard you have a vinyl of every Pete Rock & C.L. Smooth 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 '60s cut and another box set from the '80s.
I hear you're buying a harpsichord and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Angels of Light record.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Connie Case,
Scratch Acid,
James White and The Blacks,
Red Lorry Yellow Lorry,
The Peanut Butter Conspiracy,
Blake Baxter,
Lafayette Afro Rock Band,
The Durutti Column,
Morten Harket,
Yellowson,
Donald Byrd,
kango's stein massive,
The Velvet Underground,
Marine Girls,
a-ha,
Ossler,
Eric B and Rakim,
48th St. Collective,
Theoretical Girls,
Marvin Gaye,
Con Funk Shun,
Rowland S Howard / Lydia Lunch,
Youth Brigade,
Second Layer,
Y Pants,
Television Personalities,
Von Mondo,
The Cramps,
Jeff Lynne,
Prince Buster,
Jacob Miller,
The Victims,
Mandrill,
Lonnie Liston Smith,
Angry Samoans,
Adolescents,
Drive Like Jehu,
Eve St. Jones,
Dawn Penn,
The Real Kids,
The Doors,
Grandmaster Flash,
Black Bananas,
Can,
The Trojans,
Moss Icon,
Faraquet,
Rotary Connection,
James Chance & The Contortions,
Pulsallama,
Animal Collective,
The Invisible,
The Doobie Brothers,
John Holt,
Boredoms,
Roger Hodgson,
Franke,
T. Rex,
Echospace,
LL Cool J,
Rhythm & Sound,
The United States of America,
Notorious Big And Bone Thugs, Notorious Big And Bone Thugs, Notorious Big And Bone Thugs, Notorious Big And Bone Thugs.
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.