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 Cairo.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Salvador and London.
I'm losing my edge to the art-school Houston 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 Buzzcocks practice in a loft in Bolton.
I was working on the guitar 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 Camron Feat. Memphis Bleek And Beenie Seigel to the rock kids.
I played it at the Spitz.
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 Nils Olav. All the underground hits.
All Barry Ungar tracks. I heard you have a vinyl of every Scratch Acid record on German import.
I heard that you have a white label of every seminal punk 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 an arpeggiator and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Icehouse record.
I hear that you and your band have sold your sitar and bought a güiro.
I hear that you and your band have sold your güiro and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Durutti Column,
Arab on Radar,
X-Ray Spex,
The Velvet Underground,
Rakim,
Glambeats Corp.,
Jandek,
D'Angelo,
Masters at Work,
Fluxion,
The Leaves,
Marine Girls,
The Trojans,
Junior Murvin,
Anthony Braxton,
Amon Düül II,
Kerrie Biddell,
Underground Resistance,
Sixth Finger,
Thompson Twins,
Rowland S Howard / Lydia Lunch,
Lizzy Mercier Descloux,
Traffic Nightmare,
Bang on a Can All-Stars,
Lou Reed & John Cale,
The Remains,
Mandrill,
John Lydon,
Excepter,
The Invisible,
Robert Wyatt,
Spoonie Gee,
Flamin' Groovies,
Fugazi,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Mighty Diamonds,
The Saints,
The Blackbyrds,
Stiv Bators,
Flash Fearless,
Rod Modell,
Shuggie Otis,
Slave,
Judy Mowatt,
The Busters,
Rahsaan Roland Kirk,
Lebanon Hanover,
The Dave Clark Five,
Lucky Dragons,
T. Rex,
The Evens,
the Fania All-Stars,
Boogie Down Productions,
Morten Harket,
Franke,
Drexciya,
Q65,
Stockholm Monsters,
Trumans Water,
Ituana,
Minor Threat,
Soft Machine,
Don Cherry, Don Cherry, Don Cherry, Don Cherry.
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.