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 Azerbaijan and from Manila.
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 1967 to 1973.
I'm losing my edge.
To all the kids in Johannesburg and Toronto.
I'm losing my edge to the art-school Cairo 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the spring reverb sounds with much patience.
I was there when Michael McDonald 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 The Evens to the grunge kids.
I played it at CBGB's.
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 Derrick Morgan. All the underground hits.
All Althea and Donna tracks. I heard you have a vinyl of every Lonnie Liston Smith 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 '80s cut and another box set from the '90s.
I hear you're buying a rhodes and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a F. McDonald record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Barbara Tucker,
Fifty Foot Hose,
Ronan,
John Lydon,
Roy Ayers Ubiquity,
Avey Tare's Slasher Flicks,
Model 500,
Gil Scott Heron,
Bill Near,
Angels of Light & Akron/Family,
Girls At Our Best!,
This Heat,
The Vogues,
Manfred Mann's Earth Band,
Echo & the Bunnymen,
Public Image Ltd.,
The Golliwogs,
Nick Fraelich,
Funky Four + One,
Skaos,
Steve Hackett,
The Cramps,
One Last Wish,
John Foxx,
Desert Stars,
Pylon,
Sight & Sound,
Traffic Nightmare,
Icehouse,
Nick Cave & The Bad Seeds,
Franke,
Electric Prunes,
La Düsseldorf,
Wighnomy Brothers & Robag Wruhme,
The Fortunes,
Sound Behaviour,
Scan 7,
Strawberry Alarm Clock,
The Invisible,
Terry Callier,
Livin' Joy,
Marine Girls,
Drexciya,
Lee Hazlewood,
Delta 5,
Throbbing Gristle,
Al Stewart,
Lower 48,
Negative Approach,
Lindisfarne,
The Sound,
AZ,
Public Enemy,
Kings Of Tomorrow,
Tom Boy,
Mantronix,
Janne Schatter,
Black Pus,
Gang Gang Dance,
Harpers Bizarre, Harpers Bizarre, Harpers Bizarre, Harpers Bizarre.
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.