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 Fiji 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 1965 to 1978.
I'm losing my edge.
To all the kids in Woodstock and Bologna.
I'm losing my edge to the art-school Johannesburg 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the arpeggiator 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 Barclay James Harvest to the disco 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 Flamin' Groovies. All the underground hits.
All Yusef Lateef tracks. I heard you have a vinyl of every Rotary Connection record on German import.
I heard that you have a white label of every seminal electroclash 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 marimba and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Pussy Galore record.
I hear that you and your band have sold your güiro and bought a sitar.
I hear that you and your band have sold your sitar and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Zeros,
UT,
The Young Rascals,
Audionom,
A Certain Ratio,
June Days,
Grandmaster Flash and the Furious Five,
Yaz,
The Alarm Clocks,
Nik Kershaw,
Kerrie Biddell,
Shuggie Otis,
Blake Baxter,
Janne Schatter,
In Retrospect,
Essential Logic,
Black Bananas,
Marc Almond,
Glenn Branca,
Sun City Girls,
Sound Behaviour,
The Five Americans,
Godley & Creme,
Roger Hodgson,
Gerry Rafferty,
Vainqueur,
Brick,
The Tremeloes,
Joe Finger,
The Searchers,
Yellowson,
Arcadia,
The Blackbyrds,
Newcleus,
Youth Brigade,
The Names,
Kurtis Blow,
Supertramp,
Albert Ayler,
Brass Construction,
Panda Bear,
Barbara Tucker,
Bronski Beat,
The Trojans,
Matthew Halsall,
E-Dancer,
Orchestral Manoeuvres in the Dark,
Maleditus Sound,
Bobby Womack,
Tears for Fears,
Larry & the Blue Notes,
Nick Fraelich,
Crispy Ambulance,
Bobby Byrd,
Massinfluence,
Kenny Larkin,
Crash Course in Science,
The Gladiators,
Bluetip,
Stereo Dub,
The Sound,
The Stooges,
Little Man,
Intrusion, Intrusion, Intrusion, Intrusion.
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.