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 Luxembourg and from Salvador.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Sao Paulo and Lagos.
I'm losing my edge to the art-school Paris 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 Human League practice in a loft in Sheffield.
I was working on the guitar 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 Jerry's Kids to the grime kids.
I played it at the Roxy.
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 Television Personalities. All the underground hits.
All Aloha Tigers tracks. I heard you have a vinyl of every Sexual Harrassment 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 '60s cut and another box set from the '80s.
I hear you're buying a theremin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Names record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fear,
Johnny Osbourne,
Ohio Players,
Max Romeo,
June Days,
The Motions,
Public Image Ltd.,
UT,
Gichy Dan,
The United States of America,
The American Breed,
Scratch Acid,
David McCallum,
The Evens,
Excepter,
Black Sheep,
The Move,
Royal Trux,
Dawn Penn,
Massinfluence,
Sticky Fingaz feat. Raekwon,
Judy Mowatt,
The Doors,
DJ Style,
D'Angelo,
Eden Ahbez,
Bluetip,
Livin' Joy,
Kauko Röyhkä ja Narttu,
Skaos,
Schoolly D,
Thinking Fellers Union Local 282,
June of 44,
the Soft Cell,
Franke,
Leonard Cohen,
Electric Prunes,
Flamin' Groovies,
The Martian,
Richard Hell and the Voidoids,
The Music Machine,
Thompson Twins,
Lou Christie,
Minny Pops,
Ultravox,
The Birthday Party,
Joe Finger,
Juan Atkins,
Roxy Music,
Sight & Sound,
The Neon Judgement,
Bobby Byrd,
Lower 48,
The Leaves,
Bronski Beat,
Graham Central Station,
Radiopuhelimet,
Unwound,
Black Moon,
Arab on Radar,
Kurtis Blow,
Boz Scaggs,
Model 500,
Lonnie Liston Smith, Lonnie Liston Smith, Lonnie Liston Smith, Lonnie Liston Smith.
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.