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 France and from Salvador.
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 1972.
I'm losing my edge.
To all the kids in Johannesburg and Johannesburg.
I'm losing my edge to the art-school Bologna 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the spring reverb 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 Suicide to the electroclash 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 Section 25. All the underground hits.
All Black Pus tracks. I heard you have a vinyl of every Basic Channel record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a clarinet and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a E-Dancer record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fat Boys,
Lucky Dragons,
the Normal,
Schoolly D,
The Selecter,
Alphaville,
Mission of Burma,
Neu!,
Yellowson,
Todd Terry,
Davy DMX,
James White and The Blacks,
Barry Ungar,
Dual Sessions,
Scott Walker + Sunn O))),
Sam Rivers,
Lalo Schifrin,
Alice Coltrane,
The Neon Judgement,
Wire,
Bush Tetras,
U.S. Maple,
Heaven 17,
Bill Near,
Magazine,
Nick Fraelich,
Arthur Verocai,
Angry Samoans,
Althea and Donna,
Tubeway Army,
The J.B.'s,
Thompson Twins,
Reagan Youth,
Public Enemy,
New York Dolls,
Swans,
A Flock of Seagulls,
the Slits,
Von Mondo,
Babytalk,
Gang Green,
Josef K,
Sad Lovers and Giants,
Super Lover Cee & Casanova Rud,
The Electric Prunes,
Radio Birdman,
The New Christs,
cv313,
Ultravox,
Radiohead,
Matthew Halsall,
The Buckinghams,
Clear Light,
Dorothy Ashby,
Amon Düül,
David Bowie,
Maurizio,
The Modern Lovers,
Gastr Del Sol,
The Remains,
Eli Mardock,
Idris Muhammad,
Hashim, Hashim, Hashim, Hashim.
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.