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 Zambia and from Stockholm.
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 1975.
I'm losing my edge.
To all the kids in Toronto and Houston.
I'm losing my edge to the art-school Shanghai 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 Soft Boys practice in a loft in Cambridge.
I was working on the clarinet 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 Spandau Ballet to the techno 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 Althea and Donna. All the underground hits.
All Pere Ubu tracks. I heard you have a vinyl of every Easy Going record on German import.
I heard that you have a white label of every seminal grime 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 chamberlin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Severed Heads record.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
cv313,
Robert Görl,
Traffic Nightmare,
Goldenarms,
Dave Gahan,
The Chocolate Watch Band,
Flash Fearless,
Brass Construction,
Funkadelic,
Patti Smith,
L. Decosne,
Blake Baxter,
Deakin,
Magazine,
The Pop Group,
Curtis Mayfield,
The Shadows of Knight,
Nik Kershaw,
the Association,
Black Moon,
Camouflage,
Rites of Spring,
The Mummies,
The Slackers,
A Flock of Seagulls,
Nils Olav,
Avey Tare's Slasher Flicks,
Marshall Jefferson,
Girls At Our Best!,
The Buckinghams,
Youth Brigade,
Zero Boys,
John Coltrane,
Thompson Twins,
R.M.O.,
The Blackbyrds,
X-101,
The Gun Club,
Neil Young,
Richard Hell and the Voidoids,
Yaz,
Arab on Radar,
Fugazi,
Yellowson,
Scion,
Cameo,
Orchestral Manoeuvres in the Dark,
Dr. Dre and Snoop Doggy Dog,
Charles Mingus,
Hasil Adkins,
John Lydon,
Vladislav Delay,
Young Marble Giants,
Reuben Wilson,
Easy Going,
Danielle Patucci,
Metal Thangz,
Soulsonic Force,
Marcia Griffiths,
Organ,
Skarface,
Public Enemy,
Wolf Eyes,
Lou Reed, Lou Reed, Lou Reed, Lou Reed.
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.