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 Malta and from Delhi.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1968 to 1972.
I'm losing my edge.
To all the kids in Shanghai and Portland.
I'm losing my edge to the art-school Delhi 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 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 Throbbing Gristle to the jazz kids.
I played it at CBGB's.
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 Warsaw. All the underground hits.
All Terrestrial Tones tracks. I heard you have a vinyl of every Crash Course in Science record on German import.
I heard that you have a white label of every seminal electroclash 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 chamberlin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Ultimate Spinach record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Leonard Cohen,
Matthew Halsall,
Q65,
Lindisfarne,
Frankie Knuckles,
Lucky Dragons,
Pantaleimon,
Bizarre Inc.,
Notorious Big And Bone Thugs,
The Fall,
Rhythm & Sound,
Das Ding,
Johnny Clarke,
Scan 7,
Gang Gang Dance,
Kenny Larkin,
Donald Byrd,
Bootsy's Rubber Band,
Black Flag,
Liliput,
Pulsallama,
Lalann,
The Doobie Brothers,
Ajijia Myrayebe,
The Tremeloes,
Funkadelic,
Electric Prunes,
Davy DMX,
Nirvana,
Mandrill,
Kerri Chandler,
Joyce Sims,
Fela Kuti,
48th St. Collective,
Wasted Youth,
Alice Coltrane,
Radiopuhelimet,
Byron Stingily,
Eric Copeland,
Joe Finger,
Minnie Riperton,
Clear Light,
Stiv Bators,
Soft Machine,
Todd Terry,
The Residents,
Sam Rivers,
The Pretty Things,
Soul Sonic Force,
Flamin' Groovies,
The Gap Band,
Man Parrish,
The Sound,
Deutsch Amerikanische Freundschaft,
Ken Boothe,
Soul II Soul,
Peter Gordon & Love of Life Orchestra,
Lonnie Liston Smith,
Iggy Pop,
Deepchord,
The Fugs, The Fugs, The Fugs, The Fugs.
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.