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 Yemen and from Manila.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Beijing and Portland.
I'm losing my edge to the art-school Spokane 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the clarinet 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 Dennis Brown to the grime 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 Steve Hackett. All the underground hits.
All the Germs tracks. I heard you have a vinyl of every Davy DMX record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a 808 and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Electric Light Orchestra record.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Supertramp,
The Moleskins,
Cabaret Voltaire,
Avey Tare & Kría Brekkan,
Avey Tare's Slasher Flicks,
X-102,
Bobby Byrd,
Leonard Cohen,
Surgeon,
Radiopuhelimet,
Aaron Thompson,
KRS-One,
Intrusion,
Grey Daturas,
Cecil Taylor,
Boogie Down Productions,
Altered Images,
The Knickerbockers,
Malaria!,
Das Ding,
Glenn Branca,
Dennis Brown,
The Barracudas,
Richard Hell and the Voidoids,
Little Man,
Scratch Acid,
Quando Quango,
Funky Four + One,
F. McDonald,
Dawn Penn,
The Tremeloes,
Althea and Donna,
Andrew Ashong & Theo Parrish,
Niagra,
Steve Hackett,
The Shadows of Knight,
Fear,
Main Source,
Aural Exciters,
Hot Snakes,
The Durutti Column,
The Trojans,
Donald Byrd,
Sarah Menescal,
Rhythm & Sound,
Sound Behaviour,
Amon Düül II,
The Associates,
8 Eyed Spy,
John Lydon,
The Monks,
The Invisible,
The Selecter,
Trumans Water,
cv313,
Red Lorry Yellow Lorry,
Kenny Larkin,
Audionom,
Kerrie Biddell,
A Flock of Seagulls,
Kango’s Stein Massive, Kango’s Stein Massive, Kango’s Stein Massive, Kango’s Stein Massive.
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.