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 Syria and from Madrid.
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 1979.
I'm losing my edge.
To all the kids in Jakarta and Seoul.
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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the 808 sounds with much patience.
I was there when Lou Reed 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 Rekid to the funk kids.
I played it at CBGB's.
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 Doobie Brothers. All the underground hits.
All Technova tracks. I heard you have a vinyl of every Television record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a rhodes and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Deadbeat record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Alarm Clocks,
Radiopuhelimet,
Visionaries,LMNO, T- Love & Iriscience,
Major Organ And The Adding Machine,
Malaria!,
Fat Boys,
Robert Görl,
Wolf Eyes,
The Fuzztones,
Be Bop Deluxe,
Throbbing Gristle,
Television,
Graham Central Station,
Supertramp,
Max Romeo,
Eric Dolphy,
Rites of Spring,
Jacob Miller,
The Real Kids,
Avey Tare's Slasher Flicks,
Lightning Bolt,
The Mighty Diamonds,
The Smoke,
The Fugs,
Quadrant,
Delon & Dalcan,
Jeff Lynne,
Mission of Burma,
Bobby Womack,
Gang Starr,
The Gories,
The Trojans,
Manfred Mann's Earth Band,
Grandmaster Flash and the Furious Five,
Judy Mowatt,
Roy Ayers Ubiquity,
Camron Feat. Jay Z And Juelz,
The Cosmic Jokers,
Unrelated Segments,
Steve Hackett,
Alton Ellis,
Gil Scott-Heron and Jamie xx,
Sad Lovers and Giants,
Pulsallama,
U.S. Maple,
Minnie Riperton,
The Shadows of Knight,
Traffic Nightmare,
Joensuu 1685,
Soul II Soul,
The Smiths,
Justin Hinds & The Dominoes,
Derrick Morgan,
Yusef Lateef,
Grey Daturas,
Ken Boothe,
Ultravox,
The Birthday Party,
Janne Schatter,
Andrew Ashong & Theo Parrish,
Saccharine Trust, Saccharine Trust, Saccharine Trust, Saccharine Trust.
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.