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 Cape Verde and from Lyon.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Portland and Mumbai.
I'm losing my edge to the art-school Bremen 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 chamberlin sounds with much patience.
I was there when Michael McDonald 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 Vladislav Delay to the disco 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 Sixth Finger. All the underground hits.
All John Cale tracks. I heard you have a vinyl of every Alton Ellis 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 '50s cut and another box set from the '90s.
I hear you're buying a chamberlin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Residents record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Deakin,
Deepchord,
Jimmy McGriff,
Aswad,
Faraquet,
Grandmaster Flash,
Sly & The Family Stone,
Silicon Teens,
The Wake,
Barrington Levy,
The Toasters,
Rapeman,
Bobby Hutcherson,
Wire,
Marmalade,
Visage,
The Zeros,
Juan Atkins,
Average White Band,
Kaleidoscope,
Dorothy Ashby,
Scratch Acid,
David Bowie,
The Shadows of Knight,
Flamin' Groovies,
Groovy Waters,
R.M.O.,
Don Cherry,
K-Klass,
Ralphi Rosario,
Dennis Brown,
Kango’s Stein Massive,
Crash Course in Science,
Babytalk,
The New Christs,
The Sisters of Mercy,
Pylon,
Altered Images,
Kauko Röyhkä ja Narttu,
Funkadelic,
Trumans Water,
Gary Puckett & The Union Gap,
Todd Rundgren,
Barclay James Harvest,
Red Lorry Yellow Lorry,
Deutsch Amerikanische Freundschaft,
Alton Ellis,
The Standells,
Brick,
Negative Approach,
the Soft Cell,
Ohio Players,
These Immortal Souls,
The Mummies,
Albert Ayler,
Marcia Griffiths,
The Doobie Brothers,
Agitation Free,
Roy Ayers,
Technova,
Richard Hell and the Voidoids, Richard Hell and the Voidoids, Richard Hell and the Voidoids, Richard Hell and the Voidoids.
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.