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 Malaysia and from Paris.
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 1977.
I'm losing my edge.
To all the kids in Mexico City and Bremen.
I'm losing my edge to the art-school Manchester 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the güiro 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 Hardrive to the dance kids.
I played it at Trash.
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 New Age Steppers. All the underground hits.
All Juan Atkins tracks. I heard you have a vinyl of every Ultravox record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an oboe and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Freddie Wadling record.
I hear that you and your band have sold your sitar and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Chris Corsano,
Soulsonic Force,
The Gap Band,
The Stooges,
the Normal,
Man Eating Sloth,
Stockholm Monsters,
Ludus,
Funkadelic,
Terry Callier,
Swell Maps,
Jerry's Kids,
China Crisis,
A Certain Ratio,
Sam Rivers,
Stereo Dub,
Chrome,
Orchestral Manoeuvres in the Dark,
Ponytail,
Severed Heads,
Man Parrish,
World's Most,
Qualms,
Pantaleimon,
Marine Girls,
Quando Quango,
Lou Reed & John Cale,
FM Einheit,
Massinfluence,
Model 500,
ABC,
Bronski Beat,
The Wake,
Rapeman,
Gerry Rafferty,
The Blackbyrds,
The Durutti Column,
Cymande,
the Soft Cell,
Donny Hathaway,
Joe Finger,
Faust,
Von Mondo,
The Monks,
The Smiths,
The Sound,
Anthony Braxton,
Sound Behaviour,
Bluetip,
Saccharine Trust,
The Selecter,
Young Marble Giants,
Thee Headcoats,
Masters at Work,
New Order,
The Count Five,
Parry Music,
Wings,
Grandmaster Flash and the Furious Five,
The Beau Brummels,
Louis and Bebe Barron,
The Men They Couldn't Hang, The Men They Couldn't Hang, The Men They Couldn't Hang, The Men They Couldn't Hang.
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.