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 Kiribati and from Toronto.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Tokyo and Philadelphia.
I'm losing my edge to the art-school Mexico City 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 1984 at the first Arcadia practice in a loft in London.
I was working on the snare 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 Joyce Sims to the grunge kids.
I played it at Cafe Wha.
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 Jesper Dahlback. All the underground hits.
All The Divine Comedy tracks. I heard you have a vinyl of every The Cramps record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a rhodes and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Lindisfarne record.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Quando Quango,
Aaron Thompson,
Sad Lovers and Giants,
Bad Manners,
Jimmy McGriff,
Fela Kuti,
Howard Jones,
Cheater Slicks,
Depeche Mode,
Henry Cow,
Big Daddy Kane,
In Retrospect,
Chris Corsano,
Ash Ra Tempel,
Roy Ayers,
Section 25,
Schoolly D,
ABC,
MC5,
Orchestral Manoeuvres in the Dark,
Bobby Womack,
Jeff Lynne,
Mr. Review,
U.S. Maple,
Siglo XX,
Blancmange,
D'Angelo,
Franke,
Bizarre Inc.,
Thompson Twins,
Alice Coltrane,
Ornette Coleman,
Lebanon Hanover,
Liliput,
Eyeless In Gaza,
10cc,
The Alarm Clocks,
Subhumans,
Sonic Youth,
June Days,
Juan Atkins,
A Flock of Seagulls,
Pantytec,
Marcia Griffiths,
Andrew Hill,
Notorious Big And Bone Thugs,
The Motions,
Boredoms,
Prince Buster,
Desert Stars,
Larry & the Blue Notes,
The Electric Prunes,
Pharaoh Sanders and the Fire Engines,
Sixth Finger,
Fear,
Marine Girls,
Gil Scott-Heron & Brian Jackson,
DNA,
World's Most,
Frankie Knuckles,
Ultra Naté,
Girls At Our Best!,
Neil Young & Crazy Horse, Neil Young & Crazy Horse, Neil Young & Crazy Horse, Neil Young & Crazy Horse.
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.