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 Turkmenistan 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 1969 to 1973.
I'm losing my edge.
To all the kids in Taipei and Cairo.
I'm losing my edge to the art-school Calgary 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 Josef K practice in a loft in Edinburgh.
I was working on the arpeggiator 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 Lee Hazlewood to the grunge kids.
I played it at the Crocodile.
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 Kurtis Blow. All the underground hits.
All Pierre Henry tracks. I heard you have a vinyl of every Teenage Jesus and the Jerks record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a chamberlin and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Moebius record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Suicide,
La Düsseldorf,
Marine Girls,
Aswad,
The Doors,
Cymande,
Max Romeo,
Crispian St. Peters,
Cheater Slicks,
Minnie Riperton,
Roger Hodgson,
Goldenarms,
the Slits,
Kaleidoscope,
Juan Atkins,
Rufus Thomas,
Byron Stingily,
U.S. Maple,
Dave Gahan,
8 Eyed Spy,
Flipper,
Susan Cadogan,
Dawn Penn,
Darondo,
The Cure,
Icehouse,
Magma,
The Mummies,
B.T. Express,
Panda Bear,
AZ,
The Happenings,
The Dave Clark Five,
Roxy Music,
Tubeway Army,
Section 25,
Lalo Schifrin,
Ornette Coleman,
The Gap Band,
Trumans Water,
The Star Department,
The Neon Judgement,
Letta Mbulu,
Maurizio,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Smiths,
The Gories,
Andrew Ashong & Theo Parrish,
Kayak,
Charles Mingus,
Idris Muhammad,
June Days,
Sam Rivers,
Das Ding,
Urselle,
The Wake,
Niagra,
Radiopuhelimet,
Big Daddy Kane,
Major Organ And The Adding Machine,
Pere Ubu,
Soul Sonic Force,
The Moleskins, The Moleskins, The Moleskins, The Moleskins.
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.