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 Oman and from Paris.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in 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 1965 to 1979.
I'm losing my edge.
To all the kids in Houston and Johannesburg.
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 1970 at the first Onyeabor practice in a loft in Enugu.
I was working on the marimba 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 Fad Gadget to the dance 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 Q65. All the underground hits.
All Tim Buckley tracks. I heard you have a vinyl of every Bush Tetras 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 '70s.
I hear you're buying a theremin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Slits record.
I hear that you and your band have sold your guitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
David Axelrod,
Stockholm Monsters,
Selector Dub Narcotic,
Half Japanese,
Gian Franco Pienzio,
Magma,
Barbara Tucker,
Strawberry Alarm Clock,
Nas,
Quadrant,
Crispian St. Peters,
Rekid,
Jawbox,
The Doobie Brothers,
Accadde A,
The Dead C,
The Peanut Butter Conspiracy,
Parry Music,
Wire,
a-ha,
Amazonics,
Skaos,
Jerry's Kids,
Gong,
Bang on a Can All-Stars,
Rowland S Howard / Lydia Lunch,
X-101,
The Fall,
Easy Going,
Janne Schatter,
Ponytail,
Los Fastidios,
Maurizio,
Scan 7,
Mary Jane Girls,
Girls At Our Best!,
Dave Gahan,
Thompson Twins,
8 Eyed Spy,
Arab on Radar,
Avey Tare's Slasher Flicks,
Arthur Verocai,
DJ Style,
Black Flag,
Hoover,
The Knickerbockers,
The Toasters,
The Electric Prunes,
Fat Boys,
the Soft Cell,
The Tremeloes,
Nation of Ulysses,
Chris & Cosey,
Gang Gang Dance,
Model 500,
Jeff Mills,
Colin Newman,
The Jesus and Mary Chain,
Yellowson,
Sexual Harrassment,
Pantaleimon,
Cabaret Voltaire,
MC5,
Art Ensemble Of Chicago,
Kango’s Stein Massive, Kango’s Stein Massive, Kango’s Stein Massive, Kango’s Stein Massive.
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.