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 Suriname and from Winnipeg.
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 1961 to 1973.
I'm losing my edge.
To all the kids in Accra and New York.
I'm losing my edge to the art-school Salvador 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 Wire practice in a loft in Watford.
I was working on the harpsichord 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 Banda Bassotti to the punk kids.
I played it at the Roxy.
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 U.S. Maple. All the underground hits.
All Pharoah Sanders tracks. I heard you have a vinyl of every Avey Tare record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a rhodes and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Richard Hell and the Voidoids record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Chris Corsano,
Q and Not U,
John Cale,
Patti Smith,
Eli Mardock,
Deadbeat,
The Pretty Things,
Bootsy's Rubber Band,
Angry Samoans,
Radio Birdman,
Subhumans,
Lindisfarne,
Bobbi Humphrey,
DeepChord presents Echospace,
Magazine,
The Pop Group,
Gil Scott-Heron and Jamie xx,
Larry & the Blue Notes,
Cymande,
Gerry Rafferty,
Silicon Teens,
Infiniti,
Maleditus Sound,
The Moody Blues,
Yazoo,
Flipper,
Kevin Saunderson,
Robert Görl,
The Fire Engines,
The Selecter,
The Golliwogs,
Brick,
Excepter,
Niagra,
DNA,
Danielle Patucci,
The Slackers,
Ronan,
Jacob Miller,
Swans,
Dark Day,
The Shadows of Knight,
Wasted Youth,
the Human League,
James Chance & The Contortions,
The Evens,
Audionom,
Bobby Byrd,
Piero Umiliani,
X-Ray Spex,
The Human League,
Sixth Finger,
Teenage Jesus and the Jerks,
Cameo,
The Blues Magoos,
Ten City,
Erasure,
Los Fastidios,
Minnie Riperton,
Unrelated Segments,
Joe Finger,
The Happenings,
CMW,
The Doors, The Doors, The Doors, The Doors.
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.