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 Paraguay and from Hong Kong.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1961 to 1979.
I'm losing my edge.
To all the kids in Manila and Columbus.
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 1970 at the first Onyeabor practice in a loft in Enugu.
I was working on the snare sounds with much patience.
I was there when Holger Czukay 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 Connie Case to the punk 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 June of 44. All the underground hits.
All The Vogues tracks. I heard you have a vinyl of every Simply Red record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying an oboe and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Juan Atkins record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Anthony Braxton,
OOIOO,
Bizarre Inc.,
Pagans,
Yaz,
Terror Squad Feat. Camron,
Deadbeat,
Harpers Bizarre,
Siouxsie and the Banshees,
Lightning Bolt,
The Modern Lovers,
F. McDonald,
K-Klass,
Ultravox,
Talk Talk,
The Pretty Things,
The Litter,
The Residents,
Camberwell Now,
Andrew Ashong & Theo Parrish,
Negative Approach,
Swans,
Warren Ellis,
The Slits,
Charles Mingus,
Röyhkä ja Rättö ja Lehtisalo,
Qualms,
Hoover,
Pulsallama,
James White and The Blacks,
Buzzcocks,
Susan Cadogan,
Delta 5,
Rakim,
Joe Finger,
The Neon Judgement,
Black Moon,
Rufus Thomas,
Marshall Jefferson,
Ralphi Rosario,
Jandek,
Mark Hollis,
UT,
The Sisters of Mercy,
Minny Pops,
DNA,
The Slackers,
Spandau Ballet,
Mo-Dettes,
Tomorrow,
The Wake,
Angry Samoans,
Glenn Branca,
Flamin' Groovies,
The Durutti Column,
Groovy Waters,
Scrapy,
Saccharine Trust,
These Immortal Souls,
Roxette,
Television,
The J.B.'s, The J.B.'s, The J.B.'s, The J.B.'s.
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.