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 Finland and from Bologna.
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 1971.
I'm losing my edge.
To all the kids in Lyon and Woodstock.
I'm losing my edge to the art-school Tehran 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 synthesizer 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 The Peanut Butter Conspiracy 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 Grey Daturas. All the underground hits.
All Motorama tracks. I heard you have a vinyl of every Sad Lovers and Giants record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Fugazi record.
I hear that you and your band have sold your marimba and bought an oboe.
I hear that you and your band have sold your oboe and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nik Kershaw,
June Days,
Bobby Womack,
Blossom Toes,
Gang Starr,
Byron Stingily,
Slave,
Darondo,
The Real Kids,
Spandau Ballet,
Fear,
AZ,
the Germs,
Davy DMX,
Brass Construction,
Tears for Fears,
Pagans,
Vaughan Mason & Crew,
MDC,
Aural Exciters,
Gian Franco Pienzio,
Kool Moe Dee,
Scrapy,
Peter Gordon & Love of Life Orchestra,
Skriet,
Can,
Spoonie Gee,
The Stooges,
Mantronix,
Minor Threat,
Saccharine Trust,
The Residents,
London Community Gospel Choir,
The Barracudas,
Alison Limerick,
Whodini,
the Human League,
Marmalade,
Fatback Band,
Sly & The Family Stone,
Don Cherry,
Cameo,
Andrew Hill,
Accadde A,
Jesper Dahlback,
The Sisters of Mercy,
Hoover,
Michelle Simonal,
PIL,
Jeff Lynne,
Cybotron,
Oppenheimer Analysis,
Sound Behaviour,
Soul II Soul,
Howard Jones,
X-102,
Erykah Badu,
Orchestral Manoeuvres in the Dark,
Sandy B,
The Wake,
Ludus,
Pharoah Sanders,
Q65,
Barbara Tucker,
Tres Demented, Tres Demented, Tres Demented, Tres Demented.
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.