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 Tajikistan and from Spokane.
But I was there.
I was there in 1978.
I was there at the first Visage show in 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 1962 to 1977.
I'm losing my edge.
To all the kids in Glasgow and Seoul.
I'm losing my edge to the art-school Cairo 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 808 sounds with much patience.
I was there when Tom Verlaine 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 Dennis Brown to the rock 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 The Modern Lovers. All the underground hits.
All The Kinks tracks. I heard you have a vinyl of every The Velvet Underground record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a linndrum and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Terrestrial Tones record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fifty Foot Hose,
The Barracudas,
The Slackers,
Sam Rivers,
Kerrie Biddell,
Jeru the Damaja,
The Cowsills,
The Fuzztones,
Infiniti,
Average White Band,
Röyhkä ja Rättö ja Lehtisalo,
Guru Guru,
Notorious BIG live in Amsterdam,
B.T. Express,
Henry Cow,
Roger Hodgson,
OOIOO,
Bizarre Inc.,
Rakim,
Inner City,
Matthew Bourne,
Gong,
The Gladiators,
Aswad,
Traffic Nightmare,
Louis and Bebe Barron,
Peter & Gordon,
Marmalade,
Cabaret Voltaire,
The Remains,
Connie Case,
Prince Buster,
Harry Pussy,
Interpol,
Roy Ayers Ubiquity,
Kevin Saunderson,
Moebius,
The Gun Club,
Negative Approach,
The Walker Brothers,
Ronan,
Suburban Knight,
Brass Construction,
Radiohead,
Swell Maps,
Laurel Aitken,
KRS-One,
Slave,
The Music Machine,
Rotary Connection,
Hashim,
Mo-Dettes,
Flash Fearless,
Ten City,
T.S.O.L.,
Steve Hackett,
Saccharine Trust,
Lungfish,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Aural Exciters, Aural Exciters, Aural Exciters, Aural Exciters.
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.