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 Ethiopia and from Beijing.
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 1976.
I'm losing my edge.
To all the kids in Taipei and Johannesburg.
I'm losing my edge to the art-school Glasgow 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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the sitar 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 Agent Orange to the rock kids.
I played it at the 40 Watt.
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 Gap Band. All the underground hits.
All Harry Pussy tracks. I heard you have a vinyl of every The Raincoats record on German import.
I heard that you have a white label of every seminal jazz 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 synthesizer and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Harry Pussy record.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Juan Atkins,
Howard Jones,
Bobby Byrd,
David McCallum,
Steve Hackett,
Marc Romboy vs. Booka Shade,
New Age Steppers,
Lou Reed,
Glenn Branca,
Lindisfarne,
Morten Harket,
Black Flag,
Donald Byrd,
Mr. Review,
The Divine Comedy,
Nils Olav,
The Durutti Column,
Kool G Rap & DJ Polo,
Monks,
The Royal Family And The Poor,
Marc Almond,
X-Ray Spex,
Röyhkä ja Rättö ja Lehtisalo,
Nik Kershaw,
Wire,
The Gladiators,
MDC,
Groovy Waters,
Gastr Del Sol,
Lonnie Liston Smith,
Joensuu 1685,
Wings,
David Axelrod,
the Slits,
Japan,
the Germs,
Ultravox,
The West Coast Pop Art Experimental Band,
The New Christs,
The Fire Engines,
The Cosmic Jokers,
Soul II Soul,
The Moody Blues,
Pantaleimon,
Grandmaster Flash,
Lee Hazlewood,
Royal Trux,
Massinfluence,
Visage,
Youth Brigade,
Mo-Dettes,
The Electric Prunes,
Patti Smith,
The Trojans,
Roxy Music,
Deutsch Amerikanische Freundschaft,
Essential Logic, Essential Logic, Essential Logic, Essential Logic.
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.