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 Malawi and from Glasgow.
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 1963 to 1974.
I'm losing my edge.
To all the kids in Jakarta and Philadelphia.
I'm losing my edge to the art-school Lyon 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 guitar 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 Minutemen to the crunk 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 The Sound. All the underground hits.
All Bootsy Collins tracks. I heard you have a vinyl of every Skriet 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 '80s cut and another box set from the '70s.
I hear you're buying a harpsichord and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Idris Muhammad record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Blancmange,
Matthew Bourne,
Eurythmics,
Flash Fearless,
Ajijia Myrayebe,
A Flock of Seagulls,
Newcleus,
Gregory Isaacs,
Ossler,
Notorious BIG live in Amsterdam,
Angry Samoans,
Hot Snakes,
The Invisible,
Wighnomy Brothers & Robag Wruhme,
Grandmaster Flash and the Furious Five,
Sunsets and Hearts,
Jeru the Damaja,
the Germs,
Ohio Players,
Sad Lovers and Giants,
The Real Kids,
Soft Cell,
Rufus Thomas,
Sugar Minott,
Theoretical Girls,
Althea and Donna,
Bootsy Collins,
D'Angelo,
Glenn Branca,
Pantytec,
Patti Smith,
Dual Sessions,
Aloha Tigers,
Unrelated Segments,
Eli Mardock,
Dennis Brown,
Manfred Mann's Earth Band,
Letta Mbulu,
Red Lorry Yellow Lorry,
Laurel Aitken,
Sandy B,
Lafayette Afro Rock Band,
Gastr Del Sol,
Johnny Osbourne,
Maleditus Sound,
Grandmaster Flash,
Kool Moe Dee,
Eden Ahbez,
Joy Division,
Skarface,
Fort Wilson Riot,
Matthew Halsall,
Subhumans,
X-101,
Notorious Big And Bone Thugs,
Q and Not U,
The Stooges,
Mad Mike,
Bootsy's Rubber Band,
Mo-Dettes,
One Last Wish,
Amon Düül II, Amon Düül II, Amon Düül II, Amon Düül II.
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.