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 Trinidad & Tobago and from Bologna.
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 1962 to 1970.
I'm losing my edge.
To all the kids in Toronto and Accra.
I'm losing my edge to the art-school Manila 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 1978 at the first Visage practice in a loft in London.
I was working on the spring reverb 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 Country Teasers to the jazz kids.
I played it at the Spitz.
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 Rufus Thomas. All the underground hits.
All PIL tracks. I heard you have a vinyl of every Excepter 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 '70s cut and another box set from the '90s.
I hear you're buying a clarinet and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Excepter record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kas Product,
The Fuzztones,
FM Einheit,
Siouxsie and the Banshees,
The Names,
Kango’s Stein Massive,
Dual Sessions,
Pet Shop Boys,
A Flock of Seagulls,
DNA,
Derrick Morgan,
Judy Mowatt,
Lightning Bolt,
Juan Atkins,
The Buckinghams,
New York Dolls,
Kool Moe Dee,
Colin Newman,
The Gladiators,
Clear Light,
Dave Gahan,
KRS-One,
The Jesus and Mary Chain,
Wings,
Strawberry Alarm Clock,
Sam Rivers,
Gil Scott-Heron and Jamie xx,
Marcia Griffiths,
Sparks,
Kings Of Tomorrow,
Godley & Creme,
Saccharine Trust,
Liliput,
New Order,
Byron Stingily,
Gil Scott Heron,
The Velvet Underground,
T.S.O.L.,
Flipper,
John Lydon,
Grauzone,
Max Romeo,
Eden Ahbez,
Television,
Zero Boys,
Metal Thangz,
The Golliwogs,
The Trojans,
Slick Rick,
Bobby Womack,
Los Fastidios,
The Alarm Clocks,
Thee Headcoats,
Selector Dub Narcotic,
Sarah Menescal,
Loose Ends,
The Techniques,
Althea and Donna,
Eyeless In Gaza,
the Normal,
Mad Mike,
Ajijia Myrayebe,
Von Mondo,
Absolute Body Control, Absolute Body Control, Absolute Body Control, Absolute Body Control.
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.