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 Bahamas and from Edmonton.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1967 to 1973.
I'm losing my edge.
To all the kids in Portland and Beijing.
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 1970 at the first Onyeabor practice in a loft in Enugu.
I was working on the mellotron 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 Isaac Hayes to the grunge 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 Minny Pops. All the underground hits.
All Lou Reed & John Cale tracks. I heard you have a vinyl of every Thompson Twins record on German import.
I heard that you have a white label of every seminal grime 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 mellotron and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Ornette Coleman record.
I hear that you and your band have sold your spring reverb and bought an organ.
I hear that you and your band have sold your organ and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
DNA,
Matthew Halsall,
Goldenarms,
Terry Callier,
Porter Ricks,
Alton Ellis,
Wire,
Lindisfarne,
Skriet,
Sparks,
The Dead C,
Archie Shepp,
Electric Light Orchestra,
Jawbox,
Wighnomy Brothers & Robag Wruhme,
Pere Ubu,
Ten City,
Piero Umiliani,
Sixth Finger,
Smog,
Lebanon Hanover,
Quadrant,
E-Dancer,
Drive Like Jehu,
Duran Duran,
Justin Hinds & The Dominoes,
Amon Düül II,
Spoonie Gee,
Prince Buster,
Mark Hollis,
Half Japanese,
Pagans,
Avey Tare's Slasher Flicks,
Mr. Review,
The Men They Couldn't Hang,
Gil Scott-Heron and Jamie xx,
The Invisible,
Motorama,
The Electric Prunes,
Orchestral Manoeuvres in the Dark,
OOIOO,
The Associates,
Sight & Sound,
Kauko Röyhkä ja Narttu,
The Walker Brothers,
Girls At Our Best!,
This Heat,
Donald Byrd,
The Fire Engines,
X-102,
In Retrospect,
World's Most,
Cameo,
Harmonia,
Interpol,
Slick Rick,
Shoche,
The Evens,
Wasted Youth,
Skaos,
John Holt, John Holt, John Holt, John Holt.
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.