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 Japan and from Mexico City.
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 1967 to 1979.
I'm losing my edge.
To all the kids in Winnipeg and Salvador.
I'm losing my edge to the art-school Woodstock 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 linndrum sounds with much patience.
I was there when Robert Palmer 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 Liliput to the electroclash kids.
I played it at the Hacienda.
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 the Germs. All the underground hits.
All Wally Richardson tracks. I heard you have a vinyl of every Tropical Tobacco 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 '80s cut and another box set from the '80s.
I hear you're buying a rhodes and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Main Source record.
I hear that you and your band have sold your oboe and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Q65,
Moby Grape,
Oneida,
Bobby Sherman,
The Star Department,
Zero Boys,
Pylon,
The Raincoats,
Darondo,
Unrelated Segments,
Theoretical Girls,
Cheater Slicks,
Agitation Free,
China Crisis,
Lee Hazlewood,
Althea and Donna,
Dead Boys,
Eden Ahbez,
Jeff Mills,
June Days,
Blancmange,
Throbbing Gristle,
Procol Harum,
The Doors,
Alison Limerick,
Piero Umiliani,
Bobbi Humphrey,
Stereo Dub,
Larry & the Blue Notes,
Funkadelic,
Popol Vuh,
Young Marble Giants,
Nas,
Gastr Del Sol,
The Moleskins,
Lucky Dragons,
Sly & The Family Stone,
John Coltrane,
Quadrant,
Orchestral Manoeuvres in the Dark,
The Men They Couldn't Hang,
Soul Sonic Force,
Ajijia Myrayebe,
The Jesus and Mary Chain,
Idris Muhammad,
Amon Düül,
Ituana,
The Misunderstood,
Tubeway Army,
Brothers Johnson,
The Stooges,
Porter Ricks,
Barclay James Harvest,
Robert Görl,
The Busters,
The Happenings,
The Buckinghams,
Audionom,
Gil Scott-Heron & Brian Jackson,
Matthew Halsall,
Marc Romboy vs. Booka Shade,
Black Flag,
Leonard Cohen,
Byron Stingily, Byron Stingily, Byron Stingily, Byron Stingily.
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.