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 Italy and from Salvador.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1963 to 1972.
I'm losing my edge.
To all the kids in Johannesburg and Toronto.
I'm losing my edge to the art-school Copenhagen 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 chamberlin sounds with much patience.
I was there when David Bowie 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 The Gun Club to the crunk kids.
I played it at CBGB's.
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 Wally Richardson. All the underground hits.
All Nik Kershaw tracks. I heard you have a vinyl of every Wire record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a synthesizer and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Vaughan Mason & Crew record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord 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?
Infiniti,
Q and Not U,
Grey Daturas,
Mars,
World's Most,
James Chance & The Contortions,
the Germs,
Severed Heads,
Lungfish,
Jerry's Kids,
Drive Like Jehu,
Kerri Chandler,
Sexual Harrassment,
Sonny Sharrock,
Idris Muhammad,
the Association,
John Holt,
Public Image Ltd.,
Bauhaus,
Can,
The Martian,
Bad Manners,
Sound Behaviour,
Jacques Brel,
The Toasters,
The Cowsills,
Thompson Twins,
Man Eating Sloth,
Magazine,
Young Marble Giants,
New Order,
Absolute Body Control,
Wally Richardson,
DeepChord presents Echospace,
Youth Brigade,
Angels of Light & Akron/Family,
Neil Young & Crazy Horse,
Gian Franco Pienzio,
Amon Düül,
Ash Ra Tempel,
Barry Ungar,
Eurythmics,
UT,
Heaven 17,
Au Pairs,
cv313,
Rod Modell,
The Barracudas,
a-ha,
Bobby Womack,
The Cosmic Jokers,
Intrusion,
Banda Bassotti,
Gong,
Rakim,
Sight & Sound,
Lou Reed & John Cale,
Inner City,
The Young Rascals, The Young Rascals, The Young Rascals, The Young Rascals.
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.