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 India and from Paris.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Houston and Copenhagen.
I'm losing my edge to the art-school Glasgow 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 at the first Suicide practice in a loft in New York.
I was working on the theremin sounds with much patience.
I was there when David Bowie 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 Model 500 to the dance kids.
I played it at the Troubador.
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 Ituana. All the underground hits.
All Johnny Clarke tracks. I heard you have a vinyl of every Peter and Kerry record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
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 Brass Construction record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Second Layer,
Davy DMX,
X-102,
Deutsch Amerikanische Freundschaft,
Ultravox,
Livin' Joy,
La Düsseldorf,
The Invisible,
John Coltrane,
Echospace,
Mr. Review,
Kenny Larkin,
David McCallum,
Siouxsie and the Banshees,
Rakim,
Spoonie Gee,
LL Cool J,
Jacques Brel,
Moss Icon,
Ronan,
Dorothy Ashby,
One Last Wish,
Selector Dub Narcotic,
Brick,
Mars,
Alison Limerick,
Bill Near,
The Knickerbockers,
Fela Kuti,
Excepter,
Severed Heads,
Saccharine Trust,
The Trojans,
Talk Talk,
Stetsasonic,
Radiopuhelimet,
Eric Copeland,
Wolf Eyes,
The Gap Band,
Danielle Patucci,
Deakin,
Arthur Verocai,
The Seeds,
AZ,
Mo-Dettes,
Gil Scott-Heron and Jamie xx,
Pagans,
Radio Birdman,
Jandek,
Gichy Dan,
Aural Exciters,
Teenage Jesus and the Jerks,
The Move,
Chris & Cosey,
The Moody Blues,
Amon Düül II,
Bad Manners,
World's Most,
Franke,
Captain Beefheart & His Magic Band,
Harry Pussy,
The Victims,
8 Eyed Spy,
Marine Girls, Marine Girls, Marine Girls, Marine Girls.
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.