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 Chile and from Columbus.
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 Salvador and Lyon.
I'm losing my edge to the art-school Sao Paulo 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 Lou Reed 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 10cc to the jazz kids.
I played it at the Crocodile.
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 Dawn Penn. All the underground hits.
All Qualms tracks. I heard you have a vinyl of every Connie Case 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 '70s cut and another box set from the '90s.
I hear you're buying a 808 and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Ornette Coleman record.
I hear that you and your band have sold your snare and bought a 808.
I hear that you and your band have sold your 808 and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Divine Comedy,
Manfred Mann's Earth Band,
The Leaves,
Andrew Ashong & Theo Parrish,
B.T. Express,
Ash Ra Tempel,
Deepchord,
Scott Walker,
Tim Buckley,
Angry Samoans,
Nation of Ulysses,
Mad Mike,
Echo & the Bunnymen,
Los Fastidios,
Sight & Sound,
Chris Corsano,
Sonny Sharrock,
The Remains,
Minutemen,
Niagra,
Jeru the Damaja,
John Holt,
Big Daddy Kane,
The Men They Couldn't Hang,
Neil Young & Crazy Horse,
Easy Going,
Gang of Four,
The Fugs,
Deutsch Amerikanische Freundschaft,
UT,
Underground Resistance,
Wasted Youth,
Lou Christie,
Agitation Free,
Kool Moe Dee,
Thee Headcoats,
Interpol,
the Germs,
This Heat,
Albert Ayler,
Strawberry Alarm Clock,
In Retrospect,
Fat Boys,
Rosa Yemen,
Selector Dub Narcotic,
Gian Franco Pienzio,
Bobbi Humphrey,
Thinking Fellers Union Local 282,
The Kinks,
The Invisible,
Jerry's Kids,
Bang On A Can,
Buzzcocks,
Essential Logic,
Gil Scott-Heron & Brian Jackson,
Tears for Fears,
Cecil Taylor,
Susan Cadogan,
Sam Rivers,
Michelle Simonal,
AZ,
Arthur Verocai,
Glenn Branca, Glenn Branca, Glenn Branca, Glenn Branca.
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.