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 Taiwan and from Woodstock.
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 1969 to 1974.
I'm losing my edge.
To all the kids in Bremen and New York.
I'm losing my edge to the art-school Jakarta 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 spring reverb sounds with much patience.
I was there when Donald Fagen 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 Sonny Sharrock to the rock kids.
I played it at Trash.
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 Electric Light Orchestra. All the underground hits.
All Accadde A tracks. I heard you have a vinyl of every Johnny Osbourne 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 '50s cut and another box set from the '70s.
I hear you're buying a spring reverb and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Young Marble Giants record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Quando Quango,
One Last Wish,
Oppenheimer Analysis,
The New Christs,
Jacob Miller,
Television,
Jerry Gold Smith,
It's A Beautiful Day,
Scott Walker,
Lebanon Hanover,
Max Romeo,
Tubeway Army,
The Motions,
Pere Ubu,
The Electric Prunes,
The Jesus and Mary Chain,
Robert Hood,
The Last Poets,
Blossom Toes,
Adolescents,
Ash Ra Tempel,
Bill Wells,
Joyce Sims,
E-Dancer,
Crash Course in Science,
Alice Coltrane,
Jesper Dahlbäck,
The Busters,
Rufus Thomas,
the Swans,
Michelle Simonal,
The Music Machine,
Theoretical Girls,
Mantronix,
Fort Wilson Riot,
Nik Kershaw,
Agitation Free,
B.T. Express,
Man Parrish,
Y Pants,
Godley & Creme,
a-ha,
Shoche,
Simply Red,
Gerry Rafferty,
Byron Stingily,
The Gun Club,
Bush Tetras,
X-101,
EPMD,
Major Organ And The Adding Machine,
cv313,
Swans,
The Toasters,
John Lydon,
Louis and Bebe Barron,
Lafayette Afro Rock Band,
Arcadia,
Tommy Roe,
Sarah Menescal,
The Misunderstood, The Misunderstood, The Misunderstood, The Misunderstood.
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.