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 Bangladesh and from Jakarta.
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 1966 to 1971.
I'm losing my edge.
To all the kids in London and Beijing.
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 1979 at the first Second Layer practice in a loft in South London.
I was working on the spring reverb sounds with much patience.
I was there when Nile Rodgers 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 Susan Cadogan to the jazz kids.
I played it at the Troubador.
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 Glambeats Corp.. All the underground hits.
All Roxy Music tracks. I heard you have a vinyl of every The Sisters of Mercy record on German import.
I heard that you have a white label of every seminal crunk 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 guitar and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Agent Orange record.
I hear that you and your band have sold your güiro and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rekid,
Shuggie Otis,
Echo & the Bunnymen,
Altered Images,
Soft Cell,
the Normal,
Selector Dub Narcotic,
Mission of Burma,
Ludus,
The Moody Blues,
Bob Dylan,
Rod Modell,
This Heat,
Sonny Sharrock,
Kaleidoscope,
Blossom Toes,
The Star Department,
Harpers Bizarre,
Pulsallama,
Marmalade,
Louis and Bebe Barron,
The Martian,
Suburban Knight,
The Pop Group,
The Stooges,
Ornette Coleman,
Funkadelic,
Technova,
Stockholm Monsters,
The Fire Engines,
Severed Heads,
Pet Shop Boys,
Sexual Harrassment,
The Slackers,
Brass Construction,
Index,
Q65,
Essential Logic,
Bronski Beat,
Skriet,
Silicon Teens,
Rowland S Howard / Lydia Lunch,
Peter Gordon & Love of Life Orchestra,
Chris & Cosey,
Neu!,
Maleditus Sound,
Half Japanese,
B.T. Express,
Bad Manners,
The Cowsills,
David McCallum,
Robert Hood,
Alton Ellis,
Lizzy Mercier Descloux,
Quando Quango,
Peter & Gordon,
Sixth Finger,
Lucky Dragons,
Pole, Pole, Pole, Pole.
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.