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 Italy and from Portland.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1975.
I'm losing my edge.
To all the kids in Hong Kong and Woodstock.
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 1970 at the first Onyeabor practice in a loft in Enugu.
I was working on the clarinet sounds with much patience.
I was there when Donald Fagen 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 grime 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 Smog. All the underground hits.
All The Angels of Light tracks. I heard you have a vinyl of every Wolf Eyes 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 '70s cut and another box set from the '70s.
I hear you're buying a mellotron and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Throbbing Gristle record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fall,
Kerrie Biddell,
the Soft Cell,
The West Coast Pop Art Experimental Band,
Rakim,
Altered Images,
Jandek,
Tommy Roe,
Panda Bear,
Gang Gang Dance,
Bizarre Inc.,
Cymande,
Henry Cow,
Angry Samoans,
Stockholm Monsters,
Mad Mike,
Siouxsie and the Banshees,
Fifty Foot Hose,
CMW,
Lafayette Afro Rock Band,
Blancmange,
the Sonics,
Dual Sessions,
One Last Wish,
Scratch Acid,
Brass Construction,
Agent Orange,
Shuggie Otis,
Sunsets and Hearts,
World's Most,
The Blackbyrds,
Sonic Youth,
Newcleus,
Bad Manners,
Nils Olav,
De La Soul & Jungle Brothers,
The Fugs,
Joensuu 1685,
Saccharine Trust,
Scrapy,
Black Moon,
The Wake,
Amon Düül,
Tomorrow,
Chris Corsano,
Mandrill,
Rahsaan Roland Kirk,
Janne Schatter,
Orchestral Manoeuvres in the Dark,
Man Eating Sloth,
The Peanut Butter Conspiracy,
Black Pus,
Icehouse,
Kango’s Stein Massive,
Man Parrish,
Loose Ends,
Aswad,
Stereo Dub,
Country Teasers,
Maleditus Sound,
Basic Channel,
Kauko Röyhkä ja Narttu, Kauko Röyhkä ja Narttu, Kauko Röyhkä ja Narttu, Kauko Röyhkä ja Narttu.
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.