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 Armenia and from Johannesburg.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Delhi and Woodstock.
I'm losing my edge to the art-school Johannesburg 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 guitar 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 Josef K to the rock kids.
I played it at the Astoria.
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 Girls At Our Best!. All the underground hits.
All Stetsasonic tracks. I heard you have a vinyl of every Harry Pussy 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 '50s cut and another box set from the '70s.
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 Rod Modell record.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Blossom Toes,
Stetsasonic,
Index,
Moebius,
Lower 48,
Adolescents,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Deutsch Amerikanische Freundschaft,
The Alarm Clocks,
Quantec,
Letta Mbulu,
Scrapy,
Arthur Verocai,
Maurizio,
Fluxion,
Blake Baxter,
Interpol,
Desert Stars,
Brass Construction,
OOIOO,
Dark Day,
Boredoms,
Lucky Dragons,
Rapeman,
Roy Ayers Ubiquity,
Deepchord,
Half Japanese,
Susan Cadogan,
The Walker Brothers,
Japan,
Major Organ And The Adding Machine,
The Monks,
Andrew Ashong & Theo Parrish,
Ultra Naté,
Lonnie Liston Smith,
Lalo Schifrin,
Barbara Tucker,
Dual Sessions,
The Gap Band,
Oblivians,
Theoretical Girls,
Eden Ahbez,
Main Source,
Boogie Down Productions,
Eric Copeland,
The Cowsills,
Harpers Bizarre,
The Remains,
Lightning Bolt,
Agitation Free,
Pete Rock & C.L. Smooth,
John Lydon,
The Sonics,
Goldenarms,
Wolf Eyes,
Sound Behaviour,
Tommy Roe,
The Human League,
Johnny Osbourne,
Alton Ellis,
PIL,
Kaleidoscope,
The Leaves,
These Immortal Souls, These Immortal Souls, These Immortal Souls, These Immortal Souls.
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.